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SCANNED FROM THE COLLECTIONS OF 



PFA Librar)' and Film Study Center, 

University of California, Berkeley Art Museum & Pacific Film Archive 

bampfa.berkeley.edu 



Coordinated by the 

Media History Digital 
Library 

www.mediahistoryproject.org 



Funded by an anonyTnous donation 
in memor>' of Carolyn Ilauer 



UNIVERSITY OF CALIFORNIA. BERKELEY ART MUSEUM & PACIFIC FILM ARCHIVE 



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in 2009 with funding from 

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The T\lational Quide to 0\/Iotion 'Pictures 



^ 




i Madge 



Bellamy 



Menace 

of 

Hollywood 



>./ ■ '^ # 



X"*** Winners of 
» f.OOO"-" Contest! 



^ ^ ^ Never, never has 
the freshness of a Candy 
been Guaranteed 





MA 



WHEREVER you buy 
Baby Ruth you are 
guaranteed a candy whose 
freshness is unmistakable 
Freshness — savory with 
mingled flavors of nature's tastiest 
and most recently harvested delica 
cies. Freshness — swiftly captured and pro- 
tected by the most modern methods known 
to the confectioners' art. 

A guarantee like this has never before 
been possible because no one candy has 
ever before enjoyed such tremendous 
nation-wide popularity, nor been sold in so 

DE IN BILLIONS FOR 



many millions every day 

so rapidly as Baby Ruth. 

Only such enormous 

daily sales make it possible 

sell such a dollar-a-pound 

quality candy for 5c, and to guar- 

tee its absolute freshness everywhere. 

These inviting "Help Yourself" Baby Ruth 

Racks on over a million counters are your 

positive assurance of getting this freshest, 

purest and most delightful candy at all 

times. Always buy from one of them. 

Treat yourself to guaranteed fresh Baby 

Ruth today. 5c does it. 

©1928, C.C 

AMERICA'S MILLION 



Photoplay Magazine — Advektising Seciion 



rloTT can I escape 
tkis modern plague of gum disorders ? 



Questions: 

by You 
Answers : 

by the Dentists 



YOU: "This morning when I 
brushed my teeth, my gums felt 
tender and bled a little. Do you 
suppose I could have pyorrhea?" 

DENTISTS: "Probably not. The 
chances are it's nothing more serious 
than a soft and tender spot somewhere 
on your gums." 

YOU: "But ifhat could be the cause?" 

DENTISTS: "Lack of exercise, more 
than hkely. In this day of soft foods 
your gums grow weak and flabby be- 
cause they have no vigorous chewing 
to do." 

YOU: "But 1 can't change the household 

arrangements about meals. ' ' 

DENTISTS: "No need to. Simply mas- 
sage your gums twice a day at the time 
you brush your teeth. Use your brush 
or your fingsrs, whichever is more 
comfortable." 

YOU : " What good does that do ? ' ' 

DENTISTS: "It stimulates the flow of 





blood through the gum walls. It builds 
up and tones the tiny cells. It makes 
your gums firm and healthy." 

YOU: "Sounds sensible." 

DENTISTS: "It is. And if you want to 
get better results, use Ipana Tooth 
Paste for the massage as well as for the 
regular cleaning of your teeth. Brush 
both your gums and teeth with it, thor- 
oughly, twice a day. If you do this con- 
scientiously, you'll see an improvement 
within a month. Your gums will be 
firmer in texture, pinker and healthier 
in color." 

t t t 

An imaginary dialogue, you say? Yes 
— in form, perhaps, but not in sub- 
stance. For Ipana's amazing growth 
rests upon its professional support — 
the clearest proof that thousands of 
dentists are daily speaking to their 
patients in the vein of this conversation. 



Ask your own dentist about 
Ipana. Let him point out the 
benefits of its marvelous clean- 
ing power, the refreshing sense 
of health it brings to the 
whole mouth. And, most im- 
. ^ portant, let him tell you why 
he sees it as a weapon in the fight 
against gum troubles. 

For Ipana contains ziratol, a stimulat- 
ing antiseptic and hemostatic long used 
by the profession. Its presence gives 
Ipana the power to tone and invigorate 
weakened gums — to build them back 
to sound and sturdy health. 

Ipana deserves a full month's trial 

The coupon offers you a ten-day sample, 
gladly sent. But the full-size tube await- 
ing you at the nearest drug store makes 
the better test. For it contains 100 
brushings, more than enough for a 
month. So get a rube today and let 
Ipana start tonight on its good work 
for your teeth and gums. 



BRISTOL-MYERS CO., Dept.I-19 
73 West Street. New York. N. Y. 

Kindly send me a trial tube of IPANA TOOTH 
PASTE. Enclosed is a two-cent stamp to covet partly 
the cost of packing and mailing. 

Name 

Address 

Ciiy Suit 



Whcti you write to ajvertlsers please mention PHOTOrLAT M.4GAZINE. 



Photoplay Mac.a/.ine — Advertising Section 



now it's on the screen— i^ith 
talking, singing and sound! 



■^ 



C Thrill to the mag- 
nificent voice of Jean 
Hersholt! C, Hear 
Nancy Carroll as she 
sings, while Charles 
Rogers accompanies 
Iier on ibe piano! 



^■■t 



..S>*B^».. 






J^ 



And watch for! 
"Interference" 

ThtfiruQUALITY Alt-Talking 



Emil Jannings in 

■'Sins of the Fathers" 

* 

■'The Canary Murder 

Case" 

With Sound and Dialog 

* 

"The Case of Lena 
Smith" 

Slarriog Esther Ralston 

* 

Richard Dix in 

"Redskin" 

Sound and Technicolor 



f^ 



f „U secure „;ciare "»* .,-« the o*?*" 

°* , molVow V^'^' _„, picture it • 



?" 



Hot*""' ' ,1 \ 



Paramount 

paramount famous lasky corporation 




ley >'-^-v<:>- 



U .i.-..-l 



ADOLPH ZUKOR, PRES., PARAMOUNT BLDC, N. Y. 



Every advertisement in PIIOTori/AY MAGAZINE la rnnianteed. 



The World's Leading Motion Picture Publication 



PREDBRICK JAHE» SMITH 

UANAalNO BDITOB 




MARK LAKKIN 

WBHTFRN KOlTOn 



Contents 



Vol. XXXV 




For 

January 

1929 



<^= 



James R. Quirk 

= EDITOR AND PUBLISHER : 



No. 2 



=i»i> 



The High-Lights of This Issue 



Cover Design Charles Sheldon 

Madge Bellamy — Painted from Lite 

As We Go to Press 6 

Last Minute News from East and West 

Brickbats and Bouquets 8 

The Voice ot the Fan 

Brief Reviews of Current Pictures 10 

A Guide to Your Evening's Entertainment 

Recipes for Party Hostesses 15 

Let Photoplay's Cook Book Be Your Guide 

Friendly Advice on Girls' Problems 

Carolyn Van Wyck 16 
Photoplay's Personal Service Department 

Close-Ups and Long Shots James R. Quirk 27 

The Editor Tells You What's What and Who With- 
out Fear or Favor 

Sonny Boy Tad Hastings 29 

Little Davey Lee Follows Brother Frankie to Fame 

Diet — The Menace of Hollywood 

Katherine Albert 30 
Typical "Star" Luncheons Are Fatal to Health 
and Happiness 

Girl Wanted — No Experience Required 

Cal York 34 

Charlie Chaplin Picks — Literally Out of the Sky — 
a New Leading Lady 

The Studio Murder Mystery The Edingtons 36 

Two Conflicting Confessions Baffle the Police. 
There's $3,000 for Solutions of This Crime 

Here Are Winners of $5,000 Contest 40 

Awards Made for Photoplay's Annual Cut Picture 
Puzzles 

The Stars That Never Were 

Margaret E. Sangster 44 
Chinese New Year — A True Story ot Hollywood 



46 



50 



52 



56 



58 



Gossip of All the Studios Cal York 

What the Film Folk Are Doing and Saying 

My Life — So Far As told to Dorothy Spensley 
Janet Gaynor Relates Her Hollywood Experiences 

The Shadow Stage 

Reviews of Latest Silent and Sound Pictures 

What Do You Mean — Intellectual? 

Katherine Albert 

Aileen Pringle Hates to Be Tagged "The Darling of 
the Intelligentsia" 

Conrad in Quest of a Voice Mark Larkin 

Wherein Mr. Nagel Talks About the Talkies 

Doug's Ofifice Boy Makes Good Cal York 63 

But Barry Norton Did It on the Screen — Not Be- 
hind a Desk 

Photoplay Reviews the Film Year 

Frederick James Smith 

Fifteen Stars and Players Scored More Than One 
Best Performance in Photoplay During 1928 ' 

Good Girl (Fiction Story) Alice L. Tildesley 

Ken Laurel's Heart Stood Still for Years, Until — 

Amateur Movies Frederick James Smith 

Interest Grows in Photoplay's $2,000 Contest 

How to Make a Winter Hat for $3.50 

Lois Shirley 
Esther Ralston Demonstrates the Way 

"Imagine My Embarrassment — " 

Vernon Bailey 
How Don Terry, Tourist, Found Out That He Was 
"Just the Type" 

Questions and Answers The Answer Man 

What You Want to Know About Films and Film 
Folk 

Casts of Current Photoplays 

Complete lor Every Picture Reviewed in This Issue 



64 



66 



70 



72 



74 



85 



124 



<%^ 



=<5^ 



A complete list of all photoplays reviewed in the Shadow Stage this issue will be found on page 12 



■<&)= 



=<!^ 



Published monthly by the Photoplay Publishing Co. 

Editorial Offices, 221 W. 57th St., New York City Publishing Oflice, 750 N. Michigan Ave., Chicago, III 

The International News Company. Ltd.. Distributing Agents. 5 Bream's Building. London. England 

James R. Quirk, President Robert M. Eastman. Vice-President Kathryn Dougherty, Secretary and Treasurer 

Yearly Subscription: S2.50 in the United States, its dependencies. Mexico and Cuba; S3. 00 Canada; S3. .SO to foreiijtn countries. Remittances 

should be made by check, or jiostal or express money order. Caution— Do not subscribe through persons unknown to you. 

Entered as second-class matter April 24. 1912. at the Postofflce at Chlcaso. III., under the .Act of March 3. 1879. 

Copyright. 1928. by the Photoplay Publishing Company. Chicago. 



As We Go 

to Press 



Last Minute 

News 

from 

East and West 



MAURITZ STILLER, director and 
discoverer of Greta Garbo, died sud- 
denly in Stockholm. Miss Garbo 
was prostrated by the news and work on 
her new picture has been held up. 

WALTER BYRON, the young English 
actor, and Carolyn Bishop have 
announced their engagement. Miss Bishop, 
a cousin of Frances Marion, was once re- 
ported engaged to Gene Tunney. 

BYRON has just been loaned to Gloria 
Swanson for "King Kelly." Tully 
Marshall plays the heavy. Erich Von 
Stroheim is rushing (yes, rushing) work on 
the film, working night and day, and Holly- 
wood is holding its breath. Miss Swanson 
is living at the studio in a suite of rooms, so 
that she can be on hand for Von Stroheim's 
rapid fire shooting schedule. Will wonders 
never cease? 

FINDING no producer ready to sign him 
up at his figure, $3,500 a week. Rod 
La Rocque has gone ahead with his plans to 
leave the picture business. He is opening 
up a brokerage business in Los Angeles and 
is already dealing in bonds and mortgages. 

ESTHER RALSTON and her husband, 
George Webb, start a European vaca- 
tion this month. 

RICHARD DIX gets his wish. He is back 
in Ne\y York, to work at the Famous 
Players' Astoria, Long Island, 
studio. It will be a talkie ver- 
sion of "Bulldog Druramond" 
and Victor Schertzinger will 
direct. 

OUR GANG is back at the 
Hal Roach studios after 
a tour of 287 of the country's 
theaters. 

NOW they're talking of do- 
ing "A Connecticut 
Yankee in King Arthur's 
Court" over again at the Fox 
plant. Remember the superb 
Harry Myers version of some 
years ago? This time it will 
be an all-talkie and Will 



Vilma Banky takes time 
out to become an Ameri- 
can citizen. She recently 
signed her first citizenship 
papers in I-os Angeles. 
The freckled observer is 
Carter J. Vermillion, 
United States Naturaliza- 
tion Examiner. Miss 
Eanky was born at Buda- 
pest, Hungary 



Rogers is mentioned for 
hero from Bridgeport. 



Mark Twain's 



FRED THOMSON and Frances Marion 
celebrated their ninth wedding anni- 
versary on October 13th as "Denial Anni- 
versary." In other words, they deny all 
rumors of an impending divorce. 

LUCILE MENDEZ isn't going to divorce 
her husband. Director Ralph Ince. 
They're reunited again. 

JOAN CRAWFORD'S first starring vehicle 
will be Josephine Lovett's sequel to her 
highly successful "Our Dancing Daughters." 
The sequel is "The Brass Band." After 
this Miss Crawford will star in Adela Rogers 
St. Johns' "The Single Standard." 

SHARON LYNN'S playing in "Red 
Wine" won her a five-year optional con- 
tract with William Fox. 

JUNE COLLYER is spending Christmas 
with her parents in New York. Rumor 
persists that the Fox studio will not renew 
its contract with Miss CoUyer. 

CHESTER CONKLIN has purchased a 
yacht. This tops a collection which in- 
cludes a swimming pool and a pipe organ. 

TIM McCOY is spending Christmas with 
his wife and children abroad. The 
children are in school on the other side. 



YOU will see Betty Compson opposite 
Richard Barthelmess again in "Weary 
River." She was with him in "Scarlet 
Seas." "Weary River" has patches of 
dialogue and song. 

THE temptation to change a Barrie title is 
over-powering. Paramount has just 
shifted Sir James' "Half an Hour" to "The 
Doctor's Secret." This is an all-talkie with 
Ruth Chatterton featured. 

ADOLPHE MENJOU and Florence 
Vidor will appear in a talkie version of 
Leo Dietrichstein's success, "The Concert." 
Lothar Mendez will direct. After "The 
Concert" the Menjous start on a vacation. 

BACLANOVA and Nicholas Soussanin 
may be married by the time you read 
this page. The wedding takes place this 
month. 

REGINALD DENNY and Betsy Lee 
were scheduled to be married on No- 
vember 24th as this issue went to press. 
The Honolulu honeymoon will be held up 
until Denny finishes "His Lucky Day." 
By the way. Universal has just taken up its 
option upon Denny's long term contract for 
another year. 

THE Fox Movietone powers are planning 
an annual picture to be called "The 
Movietone FoHies." This will be modelled 
after the Ziegfeld FoUies. 




Photoplay Magazine — Advertising Section 



f>tmNX >s NO 

WORD FOU IT 



You need "HILARIOUS," 
"RIB -SPLITTING," and 
"UPROARIOUS" to de- 
scribe Colleen's latest 
laugh success. 

Brisk and bubbly, swift 
and sprightly, it's the 
kind of a hit you've been 
hankering for ever since 
"Her Wild Oat" and 

"Oh Kay!" . . . 

» •* * 
She was too Good to be 
Famous — so she HAD to 
be Bad! 



She warned to Sin and 
Suffer — and get it over 
with! . . . 

"I'll show Don Anthony 
I can be Crushed and 
Broken! — Then he'll 
have to make me leading 
lady in his new play!" 

A gang war and a mis- 
leading lady give her her 
Big Chance . . . But her 
only "crushing" oppor- 
tunity comes in a role she 
never expected to play! 



Yon Call H£ AR It! 

If your theatre shows "Sound" pictures, you'll 
H£AR a beautiful musical accompaniment by a 
famous orchestra, and exciting sound effects in 
^'Synthetic Sin." You'll see handsome Antonio 
Moreno, too, as leading man, in this William A. 
Seiter production from the brilliant play by 
Frederic and Fanny Hatton. 




JOH]^ 

Mccormick 



j^rickb 



Three prizes 

are given e'very month 

for the best letters'^ 

$23, $10 and $S 





Bouquets 

The REAL CRITICS, 

the FANS, 
GIVE THEIR VIEWS 



The Monthly Barometer 

nPHE Talkie situation still has the center of 
•*• the stage. Photoplay's readers would like 
theater managers to differentiate more sharply 
between pictures with spoken dialogue and 
pictures with incidental noises. Also there is a 
demand for more music, singing and dialogue 
and fewer distracting incidental noises. And 
now that the novelty is wearing off, the 
me.hanical imperfections are beginning to jar 
on the nerves of audiences. 

Since "The King of Kings" has been pre- 
sented at popular prices, it has become one of 
the leaders in popularity. "Wings" still re- 
mains a fa\-orite while, among the newer iilms, 
"Our Dancing Daughters" and "The Singing 
Kool" are by all odds the most popular. 

Richard .\rlen. Xils Asther, Joan Crawford, 
(rcta Garbo and John Gilbert received the 
greatest number of bouquets. 

And Photopl.av's Life Stories are the most 
dis;ussed feature of the magazine. 

What have you to say about the movies? 
This is the pla:e to air your opinions, griev- 
ances or enthusiasms. 

$25.00 Letter 

Grand Rapids, Mich. 

It is too bad we hear so much about IT and 
the sex appeal of movie folk, for it gives some 
persons unacquainted with photoplays in 
general the impression that the main function 
of the movies is to depict red hot love scenes. 
As a club woman associated with many 
organizations having unofficial movie censor- 
ship committees, I regret this. And I have 
been interested to note that among the movies 
I have seen during the past year or more, the 
biggest drawing cards had nothing to do with 
sex appeal — some of them did not even involve 
a man and woman romance. Among these 
were: "Stella Dallas," "The Patriot," "The 
Jazz Singer," "Beau Gcste," and "The King 
of Kings." 

In "Beau Geste," for instance, that powerful 
drama of courage and brotheriy love, there was 
(he merest suggestion of a boy and girl romance 
— and no love scenes. Vet so moving and 
appealing was this splendid picture that, as the 
lights went on, I could not sec a dry eye. 
Quite a compliment to the "morons" who at- 
tend the movies! The major theme of the 
popular "Stella Dallas" was mother love; of 
"The Jazz Singer." the religious passions and 
lofty domestic ideals of a colorful race. "The 

8 



The readers of PHOTOPLAY are in- 
vited to write to this department — to 
register complaints or compliments — 
to tell just what they think of pictures 
and players. We suggest that you 
express your ideas as briefly as pos- 
sible and refrain from severe per- 
sonal criticism, remembering that the 
object of these columns is to exchange 
thoughts that may bring about better 
pictures and better acting. Be con- 
structive. We may not agree with the 
sentiments expressed, but we'll pub- 
lish them just the same ! Letters must 
not exceed 200 words and should 
bear the writer's full name and ad- 
dress. Anonymous letters go to the 
waste basket immediately. 



Patriot" depicted the love of a man for his 
oppressed country. The affair with his mis- 
tress was the merest incident. And "The 
King of Kings" speaks for itself. 

Mrs. Pendleton Stew.'vrt Morris, Jr. 

$10.00 Letter 

Laconia, N. H. 

Visiting at the home of a friend, I was sur- 
prised when the daughter, aged eight years, 
presented me with a typewritten invitation to 
witness " Seventh Heaven." It transpired that 
a number of children, eight or ten years of age, 
belong to a Photoplay Club, under the care of a 
chaperon. With her, they see certain pictures 
and proceed to study the principal points and 
characters. .-Yssigned to their parts, the 
chaperon teaches them every necessity for 
a production. .An unused garage has been 
fitted up with everything necessary for pro- 
ducing movies. The Club earned enough by 
selling Photopl.ay subscriptions to furnish the 
necessaries. The boys ha\e been taught how 
to handle scenic effects and one girl gives her 
time as pianist. 

Benches are used for seats and ten cents for 
admission helps along the project. The 
"coach" is fifteen years old, but he knows his 
business, and the realistic production I wit- 
nessed was perfect. 

.After the show, "stars" and audience were 
asked for criticisms and plans were made for 
the ne.\t produ lion. .\nd then the mothers 
offered light refreshments. Worth-while? 



Pleasure and instruction and a new good use 
for Photoplay. Incidentally, the idea was 
invented by a crippled child. 

Mrs. Charloite Hill Twombly. 

$5.00 Letter 

Chicago, III. 

When will movie magnates cease to believe 
that aviatrices, channel swimmers, football 
heroes, baseball wizard:, cl alia, can attract 
fairly intelligent mo\'ie patrons? What a 
pleasure to witness real acting by an artist! 
But what an insult to the intelligence to see 
persons of questionable, or even unquestioned, 
prowess in fields of endeavor far removed from 
acting exploited because of their "fame"! 

(iive us an overdose, if possible, of great 
artists like Garbo, Jannings, Chaplin, Bac- 
lanova, \'eidt, and others of their calibre. 
Spare, oh spare us from "great" flagpole 
sitters, marathon dance winners and so on, 
foisted on us as great depicters of all human 
emotions! 

Let the roller-skate marathon winners and 
the sensations in all allied activities join the 
side-shows in circuses and get publicity for 
whatever they excel in. 15ut by all means keep 
them out of a field in which they have abso- 
lutely no place, except, perhaps, as news-reel 
features. 

Betty Benkett. 

Going Up! 

Chicago, III. 
Joan Crawford certainly is shooting up like 
a sky-rocket. Her pretty legs and dancing feet 
took her to stardom, but her fine acting wUl 
keep her there. 

Harriett Lafquert. 

Personal to Doug and Jack 

Rush City, Jlinn. 
Here's my brickbat to a couple of stars, and 
I think many thousands of fans will agree with 
me: 

Douglas Fairbanks! Please discard the 
gypsy outfit for at least one picture, and let's 
see how you look in a straw hat. 

John Barrymorc! Please face the camera. 
Some of us might get a chance to go to Holly- 
wood some day, so give us a chance to recog- 
nize you. 

.\rxold W. Ogren. 
[ co.ntinued on page 12.s ] 



Photoplay Magazine — Advertising Section 



rrSie famouf lover 




ivai it aWvay* 



Oee and Hear^ 

The [huiiJct ot ,t Imti'lrc! Hamirii; frigaio 
ac Jiraih ^rip? — TIk- most colorful nj\al 
Lombat ill iiistorv rL-enauied iii rich 
detail — Tht shouts of chom:itiJ« m bfcjth- 
less battle aaion- ice ^ fjmuus .mists in .1 
single picnirc — Coilrme Griliith. H. B. 
WjrriLr. Victor Vartoiii. Ian Keith. Marie 
Dressltr, Sec dirci-tof Fcink Lk-yJ outJo 
the difc-i-torul brilliantc ct "The S(.-.i 
Hi^k. — PrcstntcdbyRichardA RowbnJ 

A lirAt 

national 

Picture 

Takes the Guesswork Out 
of "Going to the Movies" 





Delilah's love sent Samson into slavery- 
For Salome. King Herod sold his sod- 
And Pelleasfell at his brother's hand 
1,1 the arms of lovely Melisande. 

r * f f 

The world has called these glamor- 
ous women great lovers. Yet all 
of them made sacrifice of the men 
they loved — 

How much greater, then, is a devo- 
tion that dares to sacrifice LOVE 
ITSELF. ... An emotion so mighty 
that, when Love spells Ruin for 
the Man, a glorious beauty re- 
nounces her last hope of happi- 
ness to SAVE HIM FROM 
THEIR LOVE! 

* f r * 

No wonder the romance of 



luxurious Lady Hamilton and world- 
renowned Lord Nelson has been 
called ihe greatest of all Great 
Loves . One of history's most 
thrilling sirens and the famous hero 
of Trafalgar, united m a reckless 
love pact that was at once the 
scandal and the salvation of an 
Empire . . . 

No wonder First National Pic- 
tures chose this epic story, from 
E. Barrington's great bestseller, 
as theme for a vast screen spectacle 
of unimagined splendor, planned 
to mark a step for^-ard in picture 

art 

No wonder millions ate plan- 
ning to see— and hear— 



ConnneQfiiTfnn 

ieDIVlNE lADY 

w /tt jouncl 




Brief Reviews of 

Current Pictures 



indicates that photoplay was named as one 
of the SIX best upon its month of review 



*AIR CIRCUS, THE— Fox.— Collegiate stuff in 
an :ivi;ition training school. Good. (November.) 

AIR LEGION, THE— FBO.— Story about the 
air mail service that has nothing but a good idea to 
recommend it. {Dec.) 

Al R M.ML PILOT, THE — Superlative. — .'Another 
air mail storv which breaks all the rules of aviation. 
(Dec.) 

ALIAS JIMMY VALENTINE— Metro-Goldwyn- 
Maver. — The old favorite, revived with William 
Haines. Good. (Oct.) 

ANN.\POLIS — Pathe. — Pleasant romance and 
drama among the admirals of tlie future. (November.) 

AWAKENING, THE — United Artists. — First 
starring picture of \'ilma Banky and Walter Byron. 
He's a nice looking lad. .\ "IVlaric-Odile" plot. 
(November.) 

B.'VBY CYCLONE, THE — Metro-Goldwyn- 
Mayer.— .All right, if you like Pekinese pups. 
{.Seplemher.) 

BACHELOR'S PARADISE — Tifiany-Stahl.— A 
somewhat rowdy comedy-drama with a little old- 
fashioned pie-throwing and an invigorating prize- 
fight. Witli Sally O'Neil. (July.) 

BANTAM COWBOY, THE— FBO.— Only good 
because Buzz Barton is in it. (Ocl.) 

*BARKER. THE— First National. — Human and 
humorous slory of circus life. With Milton Sills. See 
it. (September.) 

BATTLE OF THE SEXES, THE— United Artists. 
— Hnw a happy homo is wrecked by a blonde. 
Sophisticated drama. (September.) 

BE.\U BROADWAY — Metro-Goldwyn-Mayer. — 
Aileen Pringle and Sue Carol fight for the affections of 
Lew Cody. Gay, inconsequential comedy. (July.) 

BEAUTIFUL BUT DUMB— Tiffany-Stahl.— 
Patsy Ruth Miller in gay comedy. (Ocl.) 

BEGGARS OF LIFE— Paramount. — The low- 
down on hoboes. Good entertainment. And hear 
Wallace Beery sing a song I (Dec.) 

*BELLAMY TRIAL, THE — Metro-Goldwyn- 
Maver. — The auflience is admitted to the court room 
of the most thrilling murder mystery of the year. 
(.August.) 

BEWARE OF BLONDES— Columbia.— Emerald, 
emerald, wlio's gut the emerald? (November.) 

BEYOND THE SIERRAS — Metro-Goldwyn- 
Ma\-er. — .\ Tim McCoy Western that will put the 
kids to sleep. (July.) 

BIG HOP, THE— Buck .Tones. — Mr. Jones crosses 
the Pacilic. .\ good film. (Ocl.) 

BIG KILLING, THE— Paramount.- Wallace 
Beery and Ra\'mond Hatton becotne all tangled up 
in a 1-Centuckv feud. (.■Insusl.) 

BIT OF HEAVEN, A — Excellent. — Broadway vs. 
Park .Avenue. .\ good performance by Uia Lee. (Ocl.) 

BITTER SWEtTS— Peerless.— Fun in the life of 
a girl detective. (Dec.) 

BLACK BUTTERFLIES— Quality.— Exposing tlie 
wicked ways of tlie fake Bohemians. (November.) 

BRANDED MAN, THE— Rayart.— The best 
part of this domestic opera is the titles. Why not do 
your reading at home? (.August.) 

BROADWAY DADDIES — Columbia.— Trite 
story but well acted. (Ocl.) 

BROKEN MASK, THE— Anchor.— Ugly story 
of revenge but well told and acted. (September.) 

BROTHERLY LOVE — Metro-Goldwyn-Mayer. 
— Messrs. Dane and .Arthur in burlesque prison re- 
form. The big moment is a football game between 
two rival penitentiaries. (November.) 

BURNING BRIDGES— Pathe.— Better- than - 
usual Western, with that good hombre^ Harry Carey, 
in a dual r61c. (Dec.) 

BURNING GOLD— Elbec.— A story of dirty 
deeds in the oil fields. (August.) 

BURNING THE WIND— Universal.— One of 
Hoot Gibson's lapses. (Oct.) 

•BUSHRANGER,THE— Metro-Goldwyn-Mayer — 
Tim McCoy goes to Australia and plays some rousing 
tunes on the boo men ng. (.August.) 



BUTTER AND EGG MAN, THE— First Na- 
tional. — The amusing adventures of a country lad 
(.lack Mulhall) who becomes an "angel" on Broad- 
way. (.August.) 

CAMERAMAN, THE— Metro-Goldwyn-Mayer. 
— Buster Keaton redeems himself in this one. Lots of 
laughs. (Ocl.) 



CAPTAIN CARELESS— FBO.— You'll like Bob 
Steele. (Oa.) 

CAPTAIN SWAGGER — Pathe.— Good comedy 
in which Rod La Rocque. as a naughty aviator, is per- 
suasively reformed b\- Sue Carol. (November.) 

♦CARDBOARD LOVER, THE — Metro-Goldwyn- 
Mayer. — Snapps- Frencli farce comedy with Marion 
Davies — also Jetta Goudal and Nils Asther. Sophis- 
ticated and charming. (Oct.) 

CAUGHT IN THE FOG— Warners.— The plot 
gets lost in the fog, too. (.August.) 

CELEBRITY — Pathe. — .A prize-fighter gets cul- 
ture. Meaning Mr. Tunney? (Ocl.) 

CERTAIN YOUNG MAN, A— Metro-Goldwyn- 
Maver. — Romantic two-timing in Arlenesque London 
society. A bit languid, but well played by Ramon 
Novarro. even if he isn't precisely the perfect .Anglo- 
Saxon. (July.) 



Pictu res You 

Should Not Miss 

"7th Heaven" 

"The Singing Fool" 

"The Divine Lady" 

"Interference" 

"Mother Kncws Best" 

"Street Angel" 

"The Patriot" 

"Four Devils" 

"Wings" 

"The Godless Girl" 

\s a service to its readers. Photo- 
play Magazine presents brief critical 
comments on all photoplays of the 
precedini; si.^ months. By consulting 
this valuable guide, you can deter- 
mine at a glance whether or not your 
promised evening's entertainment is 
worth while. Photoplay's reviews 
have always been the most author- 
itative published. And its tabloid 
reviews show you accurately and con- 
cisely how to save your motion picture 
time and money. The month at the 
end of each review indicates the issue 
of Photoplay in which the original 
review appeared. 



CHARGE OF THE GAUCHOS — FBO.— How 

the .Arsenline Republic got that way. With Francis 
X. Bushman. (Dec.) 

CHEYENNE — First National.— Ken Maynard in 
one particularly swell Western. (Dec.) 

CHICKEN A LA KING— Fox. — More lessons in 
Kold-dig'jing. Funny, but rough in spots. With 
Nancy Carroll and Ford Sterling. (.Augu^l.) 



CIRCUS KID, THE— FBO.— You can sleep 
througli It. (Dec.) 

CLEARING THE TRAIL— tJniversal.-Again 
saving tlie old ranch. (Ocl.) 

CLOTHES MAKE THE WOMAN — Tiffany- 
Stahl. — Help! The Czar's daughter is with us again, 
this time played by Eve Southern. The picture lias 
its good moments. (July.) 

CLOUD DODGER, THE— Universal.- A battle 
in the air for a dizz\' blonde! (Oct.) 

CODE OF THE AIR— Bischoff.— More air stuff. 
Good adventure story. (Ocl.) 

CODE OF THE SCARLET— First National.— 
Ken Maynard gets /nv m^ui. Good out-door storj'. 
(Seplember.) 

COME AND GET IT— FBO.— Contains, among 
other things, a good boxing match. (Dec.) 

COMPANIONATE MARRIAGE — Gotham.— 
Lots of propaganda. With such a live topic, tins 
should have been a better picture. (Oct.) 

COP, THE — Pathe-De Mille. — Once more the war- 
fare between the cops and crooks. Some good melo- 
drama well acted by William Boyd, Alan Hale and 
Jacqueline Logan. (July.) 

*COSSACKS, THE — Metro-Goldwyn-Mayer.— 
Love, sport and murder among the cowboys of 
Russil. Jack Gilbert is the lure. (.August.) 

COURT-MARTIAL— Columbia.— Melodrama 
about the less civil aspects of the Civil War. (Dec.) 

COWBOY KID, THE— Fo.x. — .A Western for the 
simple-minded. (September.) 

♦CRAIG'S WIFE— Pathe. — Splendid drama with 
Irene Rich as the too perfect wife. (September.) 

CRASH, THE — First National.— Wo/ an under- 
world melodrama, but a swell thriller with a good per- 
formance by Milton Sills and a rousing train wreck. 
(November.) 

CROOKS CAN'T WIN— FBO.— Good celluloid 
gone haywire. Will someone please stop the liliii 
crime wave? (August.) 

DANGER PATROL, THE — Rayart. — A big 
wholesome, fresh air drama of the Northwest with 
three rousing murders. (July.) 

DANGER RIDER, THE— Universal.— There's a 
saving dash of originality in the plot of this Hoot 
Gibson Western. (July.) 

DANGER STREET — FBO. — .A rich bachelor, 
disappointed in love, drowns his grief in a gang war. 
Well, that's one wa^• to forget. (November.) 

DAWN — Herbert Wilcox. — .An English production 
that gives a fair and impartial presentation of the 
Edith Cavellcase. (.August.) 

DEMON RIDER. THE— Davis.— Just a West- 
ern. (Dec.) 

DESERT BRIDE, THE — Columbia. — Betty 
Compson. as a Parisian beauty, raises havoc in the 
Foreign Legion. (.August.) 

DETECTIVES — Metro-Goldwyn-Mayer. — Karl 
Dane and George K. .Arthur in a collection of gags — 
and some of them are not exactly spotless. (July.) 

DEVIL'S TRADEMARK, THE— FBO.— Aggra- 
vating bunk. (September.) 

*DIVINE LADY, THE— First National. — The old 
dirt about Lady Hamilton and Lord Nelson, told in 
romantic fashion. Pictorially beautiful, thanks to the 
lovely face of Corinne Griffith. (Dec.) 

DIVINE SINNER, THE— Rayart.— Austrian 
drama with daring but grown-up theme. (Ocl.) 

DO GENTLEMEN SNORE?— Roach-M.-G.-M.— 
A siiort farce turned into a panic by the appearance 
of a real, live gorilla. (.August.) 

*DOCKS OF NEW YORK, THE— Paramount.— 
A drama of two derelicts, powerful, dramatic and 
stirring. Superbly acted by George Bancroft and 
Betty Compson. Worthwhile adult entertainment. 
(November.) 

DOG JUSTICE— FBO. — But the story is a cruel 
injustice to Ranger, the canine star. (.August.) 

DOG LAW — FBO. — Giving Ranger a good break. 
November.) 

I CONTINtTED ON PAGE 1 2 | 



10 



Photoplay Magazine — Advertising Section 



T T 



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Brief Reviews of Current Pictures 



[ CONTINUED FROM PAGE 10 ] 



DON'T MARRY — Fox. — An amusing little ro- 
mantic comedy iliat will please the gals. Gayly 
played by Lois Moran and Neil Hamilton. {July.) 

DO YOUR DUTY— First National.— Charlie 
Murrav plays his piece about the honest traffic cop 
and the crooks. Not so hot. {Dec.) 

*DRAG NET, THE — Paramount. — Vivid and 
swiftly mo\'ing underworld story with grade A acting 
bv George Bancroft, William Powell and Evelyn 
Brent. {July.) 

*DRY MARTINI— Fox.— Sophisticated comedy 
among tlic Anirrican dry law ex-patriots of the Ritz 
bar in Paris. Naughty but neat. {Novejnber.) 

DUGAN OF THE DUGOUTS— Anchor.— Gag- 
ging the Great War again. (September.) 

DUTV'S REWARD— Elbee.— More cops, crooked 
politics, etc. (Dec.) 

END OF ST. PETERSBURG, THE— Sovkinc— 
What the Soviet wants >-ou to believe. St. Peters- 
burg destroyed by trick camera angles. {August.) 

EXCESS BAGGAGE— Metro-Goldwyn-Mayer.— 
Vivid and realistic picture of stage life. See it. 
(.August.) 

FAMILY PICNIC, THE — Fox- Movietone.— 
Pioneer all-talking comedy. See it and write your 
own remedy. (September.) 

FANGS OF FATE— Pathe.— Klondike, the dog 
growls through an old story. (September.) 

FAZIL^Fox. — Proving the sheiks make bad 
husbands. Torrid necking in the desert. Not for 
the kindergarten class. (August.) 

FIFTY-FIFTY GIRL, THE— Paramount.— Bebe 
Daniels inherits half a gold mine. It turns out to be a 
gold mine of laughs. James Hall is her leading man. 
Recommended to your kind attention. (July.) 

FIGHTIN' REDHEAD, THE— FBO.— Buzz Bar- 
ton eats up the Western scenery. (September.) 

FIRST KISS. THE— Paramount.— Young love, 
played by Fay Wray and Garj- Cooper and set in a 
deep sea background. (November.) 

FLEET'S IN. THE— Paramount.— Clara Bow 
among the sailors. Of course, you won't miss it. 
{Noi'ember.) 

FLEETWING— Fox.— A story of Araby, a giri, 
a sheik and a horse. (September.) 

FLYING COWBOY, THE— Universal.— Fun— 
and lots of it — on a dude ranch. With Hoot Gibjon. 
(July.) 

FORBIDDEN HOUR. THE— Metro-Goldwyn- 
Mayer. — Ramon Novarro is at his best as the prince- 
at-play. Tlie story of a king who gave up his throne 
for love. .And Renee Adoree is in it. You'll like this 
one. (July.) 

FORBIDDEN LOVE— Pathe.— English film 
brought to this country merely because it stars Lily 
Damlta. (Dec.) 

♦FORGOTTEN FACES— Paramount.-Under- 
world storj' of regeneration and sacrifice. Fine story, 
fine acting, and 100 per cent entertainment. {Sept.) 

•FOUR DEVILS— Fox.— Dramatic and beautifully 
presented story of Continental Circus life, with great 
performances by Janet Gaynor, Charles Morton and 
Barry Norton. You'll want to see it. (Dec.) 

*FOUR WALLS— Metro-Goldw\'n-Mayer.— Story 
of Jewish gangster, splendidly played by John Gilbert. 
Don't miss it. {September.) 

FREE LIPS — First Division. — Virtue triumphant 
in a night club. Just another one of those pictures. 
With June Marlowe. (July.) 



FURY OF THE WILD— FBO.— More real meat 
for Ranger. (November.) 

GANG WAR— FBO.— Yep, bootleggers and crooks 
again. (September.) 

GATE CRASHER, THE— Universal.— Glen Try- 
on in a hit-and-miss comedy. (September.) 

GEORGE BERNARD SHAW— Fox-Movietone.- 
Mr. Shaw ontert;\ins liis public with an imitation of 
Mussolini. It's a wow. (September.) 

GIRL HE DIDN'T BUY, THE— Peerless.— Light 
story of a Broadway love affair with an original twist 
to the plot. (.August.) 

GIRL ON THE BARGE, THE— Universal.— A 
little slow but pleasant enough. Sally O'Neil wears 
her one expression. (Dec.) 

GIVE AND TAKE— Universal.— A silly story but 
made into good entertainment by the expert comedy 
offered by Jean Hersholt and George Sidney. (July.) 

♦GLORIOUS BETSY— Warners.— The romantic 
story of Jerome Bonaparte and Betsy Patterson of 
Baltimore. Tricked up with a happy but unhistoric 
ending. Mildly charming, and decked out with Vita- 
phonic outbursts. Dolores Costello starred. (July.) 

^GODLESS GIRL, THE— Pathe-De Mille— A 
vitally interesting and vivid story told with all the 
force and power Cecil B. De Mille could give it. In- 
cidentally, it takes a poke at reform schools. -A real 
picture with splendid acting by Marie Prevost. George 
Duryea, Noah Beery and Lina Basquette. (July.) 

GOLDEN CLOWN, THE — Nordisk-Pathe. — 
Even Denmark has a clown who laughs to conceal a 
broken heart. Turgid foreign drama with a fine per- 
formance by Gosta Eckman. (July.) 

GOLDEN SHACKLES— Peerless.— You can't 
see the picture for the plot. (August.) 

GOLF WIDOWS — Columbia. — Comedy drama 
built on one of the terrible consequences of country 
club life. With Harrison Ford and Vera Reynolds. 
{July.) 

GRAIN OF DUST, THE— Tiffany-Stahl.— Inter- 
esting drama based on the David Graham Phillips 
novel, with the grief rather heavily stressed. {Nov.) 



• Universal. — Dumb 



GREASED LIGHTNING - 

Western. (September. ) 

GREEN GRASS WIDOWS— Tiffany-Stahl. — 

Walter Hagen in a goofy golf story. He should know 
better. (September.) 

GUARDIANS OF THE WILD— Universal — 
Too bad that Rex, the wonder horse, can't write his 
own stories and put som,e horse-sense into them. 
(November.) 

GYPSY OF THE NORTH— Rayart,— A better 
than usual melodrama of the Northern mining 
camps. {August,) 

HALF A BRIDE— Paramount.— Wherein a bride 
is cast away on a desert island with the wrong man. 
(August.) 

HANGMAN'S HOUSE— Fox.— A good drama of 
Ireland, with some splendid backgrounds, a fine 
horse race and an excellent performance by Victor 
McLaglen. (.August.) 

HAPPINESS AHEAD— First National.— What 
might have been merely tawdry melodrama is turned 
into fine entertainment by the splendid acting of 
Colleen Moore, Edmund Lowe and Lilyan Tash- 
man. {.August.) 

HAUNTED HOUSE. THE— First National — 
Too much Chester Conklin and not enough m^'stcry. 
{November.) 



HAWK'S NEST, THE— First National.— An in- 
teresting and colorful melodrama of Chinatown, ex- 
cellently acted by Milton Sills and Doris Kenvon. 
(July.) 

HEADIN' FOR DANGER — FBO. —The best 
Western in months. New plot, new situations, new 
gags and Bob Steele. (July.) 

HEAD MAN, THE— First National.— What 
happened in a small town when the Ladies' Auxiliary 
drank too much lemonade. (August.) 

HEARTS OF MEN— Anchor.— And producers 
ain't got no heart. (Oct.) 

HEART TO HEART— First National.— Agreeable 
and original comedy of small town life. You'll like it. 
(September.) 

HEART TROUBLE— First National.— Harr>' 
Langdon writes liis own finish in pictures. (Sept.) 

HELLO. CHEYENNE— Fox.— That distinguished 
litterateur, Mr. Tom Mix, in a Western that is pep- 
pered with new stunts. (July.) 

HELL SHIP BRONSON— Gotham.— Noah Beery 
does some of his best acting as a rip-roaring old sea 
captain who is licked and frustrated by two women. 
You'll be sorry when virtue triumphs. Swell enter- 
tainment. (July.) 

HEY, RUBE— FBO.— Carnival life film that has 
the real stuff. (Dec.) 

HIS LAST HAUL— FBO.-Just a tear ierker. 
(Dec.) 

HIS PRIVATE LIFE— Paramount.— One of 
those French farces that is full of doors and bores. 
However, it has Adolphe Menjou. (Dec.) 

HIS RISE TO FAME— Excellent —Prize ring 
stuff with night club trimmings. (September.) 

HIT OF THE SHOW. THE— FBO.— A lot of 
grief about the hard life of a small-town actor. Just 
a tear-fest. (July.) 

HOLLYWOOD BOUND — Warners. — Talkie 
farce that sounds as though it had been written by 
someone who never had been nearer Ho!l>'\vood than 
Parsons, Kans. (November.) 

HOMESICK— Fox.— Sammy Cohen as a New 
York tourist in California. Fairly funny. (Dec.) 

*HOME TOWNERS, THE— Warners— Smooth- 
est talkie so far. Good lines, by George M. Cohan, 
and a fine performance by Doris Kenyon. (Dec.) 

HOT NEWS— Paramount.— Bebe Daniels hunts 
for thrills in the news reel game. And finds 'em. 
(September.) 

HOUND OF SILVER CREEK, THE— Universal. 
— Dynamite, the new dog star, blasts an inferior 
story to success. (Aiigusl.) 

HOUSE OF SCANDAL, THE— Tiffany-Stahl — 
If you are not sick of cops, crooks and the inevitable 
girl who reforms. (July.) 

I FORBID — Fan-Maid Pictures. — An over-ripe 
Kosher film of breaking hearts. {November.) 

INSPIRATION— Excellent.— Too little of the 
title role. (Dec.) 

♦INTERFERENCE — Paramount.— Drama and 
suspense in a Grade .A murder story. Well acted 
and well spoken — yes, it's a talkie. (Dec.) 

INTO NO MAN'S LAND— Excellent.— An un- 
usually dull war picture. (Dec.) 

JUST MARRIED — Paramount. — Honeymoon 
farce on a transatlantic liner. Lots of laughs. 
(September.) 



Photoplays Reviewed in tke Shadow Stage This Issue 

Save this magazine — refer to the criticisms before you pic\ out your evenings entertainment. M.a\e this your reference list. 



Page 

Adoration — First National 54 

A Man of Peace — Warners 93 

Amazing \'agabond, The — FBO 93 

Avalanche — Paramount 54 

Avensing Rider, The— FBO 92 

A Woman of Affairs— H.-G.-JI 53 

Black Ace, The— Pathe 93 

Cavalier, The — Tiffany-Stahl 93 

City of Purple Dreams, The — Rayart. . 92 

Driftwood — Columbia 92 

Geraldine — Pathe 54 

Harvest of Hate, The — Uni\-ersal 92 

Head of the Family, The — Gotham.. . . 92 



Page 

King Cowboy— FBO 92 

King of the Rodeo — Universal 92 

Legend of Gosta Barling, The — Swedish 

Biograph 92 

Making the Varsity — Excellent 92 

Napoleon's Barber — Fo.x-Movietone. . . 93 

Naughty Baby — First National 54 

On Trial — Warners- Vitaphone 55 

Outcast — First National 52 

Power of the Press, The — Columbia. . . 92 

Queen of Burlesque — Tiffany-Stahl. ... 92 

Red Mark, The— Pathe 54 



I'age 

Red Wine— Fo.x 53 

Riley the Cop — Fox 55 

Romance of the Underworld — Fox. ... 52 

Scarlet Seas — First National 53 

Shakedown, The — Universal 93 

Silent Sheldon— Rayart 92 

Sinners' Parade — Columbia 92 

Sins of the Fathers — Paramount 52 

Sioux Flood— M.-G.-M 92 

Someone to Love — Paramount ! 54 

South of Panama— Chesterfield 92 

\'iking. The— Technicolor-M.-G.-M. . . 55 



1^ 



Photoplay Magazine — Advertising Section 



'.1 



KID'S CLEVER, THE— Univt-rsal.— But the film 
isn't. {Novt-mbtr.) 

*KIT CARSON — Paramount. — FrcfJ Thomson in 
an above par western. (Oct.) 

LADIES OF THE MOB — Paramount. — Clara 
Bow becomes a gunman's "moll" and handles a 
dramatic story skillfully. {September.) 

LADIES OF THE NIGHT CLUB— Tiffany- 
Stalil. — A clown and a millionaire are rivals for the 
affections of a cabaret girl. Synthetic heart interest. 
{Aususl.) 

LADY RAFFLES— Columbia.— A mystery melo- 
drama witli a real mystery — of all things! And some 
snappy team work by Estelle Taylor and Lilyan 
Tashman. (Jw/y.) 

LIGHTNING SPEED— FBC— Adventures of a 
new.-^paper reporter — as the movies see 'cm. {Nov.) 

LIGHTS OF NEW YORK — Warner- Vitaphont. 
— First all-talkie feature and. naturallv. pretty crude. 
Squawking night clubs and audible murders. 
(Stp Umber.) 

*LILAC TIME— First National.— Thrilling and 
romantic war drama with enough sentiment to lift 
it above the run of war plays. {.August.) 

LINGERIE— Tiffany-Stahl.— Alice White and 
Malcolm McGregor in a war romance that you'll 
like. {Oct.) 

LION AND THE MOUSE— Warner-Vitaphone.— 
Partli' dialogue witli some effective performances. 
But the story belongs to a past decade. {September.) 

LITTLE SNOB, THE — Warners. — A Coney 
Island kid tries to crash society but discovers that the 
freaks are better company. With May McAvoy. 
iJuly.) 

LITTLE WILDCAT, THE— Warners.— Nothing 
to shoot up the blood pressure. {November.) 

LITTLE WILD GIRL, THE— Hercules.— Lila 

Lee gets mixed up in a lot of old-fashioned hokum. 
{September.) 

LITTLE YELLOW HOUSE, THE— FBO— An 

awful fuss about nothing at all. {Aususl.) 

LONESOME — Universal. — Barbara Kent and 
Glenn Tryon in a good human interest story of young 
love in modern backgrounds. Lots of trick camera 
work but, on the whole, worth your while. {July.) 

LOST IN THE ARCTIC— Fox— Interesting and 
wortliwliile story of .\rctic Exploration. {Oct.) 

LOVE OVER NIGHT— Pathe.— Mystery stuff 
casLd over witli some good comedy. {September.) 

MADELON— Universal.— A talkie— so bad that 
it should be a museum piece. {November.) 

MAGNIFICENT FLIRT, THE— Paramount.— 
Mother and daughter in a mix-up of romances. 
Suave direction and the fascinating work of Florence 
Vidor put this picture across. (August.) 

MAKING THE GRADE— Fox.— An excellent 
movietone, based on a George Ade story. {Dec.) 

MAN FROM HEADQUARTERS. THE— Rayart. 
— Thrilling and enthralling Secret Service yarn. 
Above average. (Seplemher.) 

^MANHATTAN COCKTAIL— Paramount —A 
story of life in New York's theatrical circles — told 
with a kick. {Dec.) 

MAN IN HOBBLES, THE— Tiffany-Stahl — 
What "in-laws" can do to an ambitious artist. Good 
cnmedy. (Dec.) 

MAN IN THE ROUGH, THE— FBO— Not a 
golf siory. A Western with slinn- villain, foolish old 
man, tomboy daughter — and Our Hero! {July.) 

MARCHING ON— Fox.— Chic Sale in a char- 
acter study of a Civil War veteran. Tears and 
laughter. It's a Movietone. {Dec.) 

MARKED MONEY— Pathe.— Pleasant comedy 
with human interest. {Dec.) 

MASKED ANGEL, A— Chadwick.— Just dumb. 

{Oct.) 

MASKS OF THE DEVIL— Metro-Goldwyn- 
Mayer. — John Gilbert is great in a weird and sinister 
story. {Dec.) 

♦MATING CALL, THE— Paramount-Caddo.— 
Thomas Meighan, Evelyn Brent and Renee Adoree 
in an unusual stor>' of strong dramatic appeal. (Oct.) 

*ME. GANGSTER— Fox.— Sentimental, melo- 
dramatic and yet completely absorbing. Introducing 
an unusual newconier, one Don Terry, whose perform- 
ance is worth seeing. {November.) 

MICHIGAN KID, THE— Universal.- Thrilling 
melodrama and beautiful scenery successfully smother 
a Horatio Alger plot. With Conrad Nagel and Renee 
Adoree. {July.) 

MIDNIGHT ADVENTURE, A— Rayart.— Some- 
thing verv niftv and baffling in the way of a murder. 
{July.) 

MIDNIGHT LIFE— Gotham.- Night club stuff 
and a bit bloodthirsty. (Oct.) 

MIDNIGHT TAXI, THE— Warners.— Bootlegger 
and hijackers run riot. {August.) 

MODERN MOTHERS— Columbia.— Show folks 
vs. Babbitts. {Oct.) 



MORGAN'S LAST RAID — Metro-Goldwyn- 

Mayer.— An old-time melodrama made passable by 
modern endnlhshments. {November.) 

*MOTIIERKNOWSBEST— Fox.— Edna Ferbers 

story of a stage motlicr whoye dominating, relentlei^s 
ambition for her daughter sends the girl to fame. A 
remarkable performance by Madge Bellamy and 
great acting by Louise Dresser and Barry Norton. 
{November.) 

MUST WE MARRY?— Trinity.— Must we make 
pictures like this? (Dec.) 

MYSTERIOUS LADY, THE — Metro-Goldw>n- 
Majer. — Greta Garbo as a spy in a war romance. 
And. oh what fun for the officers! {September.) 

NAME THE WOMAN— Columbia.— And also 
name the plot. {Oct.) 

NED McCOBB'S DAUGHTER— Palhe.—Plenty 

of action plus sound drama plus fine acting. {Dec.) 

*NEWS PARADE, THE— Fox.— A snappy and 
original melodrama of the exploits of the news reel 
photographers. Nick Stuart and Sally Phipps head 
tlie cast. Excellent way to spend the evening. {July.) 

NIGHT BIRD. THE — Universal. — Reginald 
Denny goes back to tlie prize-ring, where he is at his 
best. {November.) 

*NIGHT WATCH, THE— First National.— War 
story with navv background and some good drama. 
/l"d BillieDove. {Oct.) 

*NOAH'S ARK— Warners. — Big cast, big theme, 
big flood. Your money's worth. {Oct.) 

NONE BUT THE BRAVE— Fox.— Once more the 
college hero makes good. {Oct.) 

NO OTHER WOMAN— Fox.— One of 'Dolores 
Del Rio's early movie mistakes, dug up for no good 
reason. {September. ) 

NO QUESTIONS ASKED— Warners.— William 
Collier, Jr.. and Audrey Ferris in one of those "first 
year ' stories. Just so-so. {July.) 

OBEY YOUR HUSBAND— Anchor.— Horrible 
moral lesson for naughty wives. (September.) 

OH KAY! — First National. — Colleen Moore in 
some agreeable nonsense. (Oct.) 

OLD CODE, THE— Anchor.— Heaven help the 
Indian on a night like this! {Oct.) 

OPENING NIGHT, THE — Columbia. — One 
moment of cowardice wrecks the life of an otherwise 
fine man. A drama worth seeing. lAugiist.) 

ORPHANS OF THE SAGE— FBO.— Boss pitcli- 
er. {Oct.) 

*OUR DANCING DAUGHTERS — Metro- 
Goldwyn-Mayer. — Lively and very modern romance 
in the younger set, staged in a luxurious background 
and ornamented by Joan Crawford, Anita Paee and 
Dorothy Sebastian. John Mack Brown and Nils 
Asther also lielp a lot. (.'\ugust.) 

OUT OF THE RUINS— First National.— Dick 
Bartlielmess in a pretty uniform and a Buster 
Keaton expression. {Oct.) 

OUT WITH THE TIDE— Fearless.- Great hand- 
fuls of melodrama. {November.) 

PAINTED POST— Fox.— Tom Mix's swan song 
for Fox. (September.) 

PERFECT CRIME, THE— FBO.— Clive Brook, 
as a great detective, is in search of a perfect crime. 
How he finds it is the basis of an unusually fine 
m\'stcry >'arn. (July.) 

PHANTOM CITY, THE— First National.— Fun 
and mystery in a deserted mining town, with Ken 
Maynard as the spook chaser. (.Xugust.) 

PHANTOM PINTO, THE— Ben Wilson.— Why 
expect a pinto pony and a flock of horses to furnish 
all the brains of a picture? (August.) 

PLASTERED IN PARIS— Fox— Pretty tire- 
some. {Dec.) 

POLLY OF THE MOVIES— First Division.- 
Inexpensive but eiitertLtining film about an ugl\' 
duckling wlio would be a movie cpieen. {September.) 

PORT OF DREAMS— Universal.— Proving that 
you can't make a "7th Heaven" just by slowing down 
the scenes. Tliis one is full of yawns. (November.) 

*POWER — Pathe. — Romantic adventures of Bill 
Boyd and Alan Hale a couple of dam good workers — 
or good flam workrr>. .\nd verj' funny, too. (Sept.) 

PRICE OF FEAR, THE— Universal.— Something 
to avoid. (Dec.) 

PROWLERS OF THE SEA— Tiffany-Stahl. — 

Devastating eftects of a beautiful Cuban girl on the 
morale of a Navy officer. {Septetnber.) 

QUEEN OF THE CHORUS, THE— Anchor.— 
Routine. Temptations of a chorus girl, with virtue 
triumpliant. {August.) 

♦RACKET. THE— Caddo-Paramount.— Thomas 
Meiglian, as a lone cop, cleans up a ganp of racketeer'^, 
headed by Louis Wolheim. Don't miss it. {August.) 

RAIDER EMDEN, THE— Emelka-Columbia.— A 
thrilling reproduction of the most spectacular sea 
exploits of the War. {A ugust.) 

RANSOM^ — Columbia. — Childish rumpus over a 
heav>' international secret. Third rale. (Oct.) 
1 CONTINUED ON PAGK 111 ] 



A Chri^mas 

GIFT 

Twelve Times 

THERE are several 
reasons why a sub- 
scription to Photoplay 
Magazine is such an ideal 
Christmas gift. Not only 
does it continue its presence 
month after month — long 
after the holly and mistletoe 
are forgotten — but its wel- 
come is absolute. You know 
it will please the recipient. 

C In these days when every- 
one is interested in motion 
pictures, the gift of a maga- 
zine that reveals the inside of 
the art and industry — every 
month -is assured the keen- 
est welcome. Photoplay has 
the brightest personality 
stories, the most appealing 
illustrations and the most 
reliable information about 
the stars and their pictures. 

To enable you to send this gift 
subscription in a correct and 
most attractive way, an artis- 
tic Christmas Card has been 
provided, stating that Photo- 
play Magazine will be sent for 
whate\"er period you desire. 
Your name and Christinas greet- 
ings will appear on this card, 
which will be sent either to you 
or to the recipient of the gift. 

When you reinrn coiipnii, allach a 

Postal or Express Money Order 

or a Check. Belter hurry. 

PHOTOPLAY 
MAGAZINE 

Dept. 1-CS 

750 No. Michigan Ave., 

CHICAGO, ILL. 

Christmas Subscription 
COUPON 

Year, $2.50. Six months $1.25. Canada. $3 00 
per year. Foreign CounlriLS, $3.50 per year. 

Photoplay Magazine, Dept. 1-CS, 
750 No. Michigan Ave.. Chicago, 111. 



Clenllenien: — Enclosed find $.. 

for 

Send to 

— Name 

Addrt-<is 

From 

—Name 



I Addres'^ . . 



__! 



When you write to a.hertiscrs plea.se mention PHOTOPLAY M,\li.\/.INE 



H 
G^ 



Photoplay Magazine — Advertising Section 



VVt) 



'Audiences are sacfing it, Everywhere ; — 




Xtlasty PICTURESr/zarTALi; 
Me LIVING PEOPLE/ 



Vitaphone Talking Pictures 
are electrifying audiences 
the country over! 

For Vitaphone brings to you 
the greatest of the world's 
great entertainers . . . 

Screen stars! Stage stars! 
Opera stars! Famous orches- 
tras! Master musicians! 

Vitaphone recreates them 
ALL before your eyes. You 
see and hear them act, talk, 
sing and play — like human 
beings in the flesh! 



Do not confuse Vitaphone 
with mere ^'sound effects." 

Vitaphone is the ONE 
proved successful talking 
picture — exclusive product 
of Warner Bros. 

Remember this — if it's not 
Warner Bros. Vitaphone, 
it's NOT the real, life-like 
talking picture. 

Vitaphone climaxes all prev- 
ious entertainment achieve- 
ments. See and hear this mar- 
vel of the age — Vitaphone, 



aviTAww' 



|jClTJ» 



If itsj/^ / g WARNER PICTURE it^s !^ / VITAPMOWt 



Every advertisement In PnOTOPLAY MAGAZINE Is goiaranteed. 



r(.edpes 

for 

Party 



Hostesses 



Three good dishes, 

furnished by the stars, 

that your guests are 

sure to like 



MANY readers have written to me, asking for suggestions 
for "something different" to serve at evening parties. 
They tell me that they are tired of sandwiches and 
would like to give their friends something special for a change. 
As a rule, women like salads, esp'ecially if they are served 
attractively, while men want something more substantial. 
The problem of most hostesses, unless they have several 
well-trained servants, is to find something to serve that will 
not take too much last minute preparation. So the three 
recipes that I am suggesting for parties are all practical for 
the hostess who, with one maid, must not only prepare the 
dishes but serve them too. 

A very simple recipe which is fine for small evening parties 
was contributed to Photopl.^y's Cook Book by Harold Lloyd. 
It is called Eggs Dolores. Here :ire the ingredients but, of 
course, if you are serving twelve people, you must double the 
amounts: 

\^ teaspoon salt 
cheese 1 teaspoon Worcestershire sauce 
Cayenne 




Corinne Griffith takes a cooking lesson from O'ive. 
As a Southerner, Miss Griffith is partial to Dixie 
cooking. On this page, you will find a recipe for 
Nut Sticks, as they are prepared for Corinne by 
0!ive 



Strain tomatoes and put in double boiler. Boil up once. 
Add grated cheese and seasoning and cook until melted. .Add 
eggs, which have been beaten until lemon colored. Cook 
until eggs are set. Serve very hot on toast. 

This, as you see, is a variation of Welsh rarebit and it is 
invariably popular with men. 

MARION D.AVIES furnishes another good party recipe to 
the Cook Book. It is slightly more elaborate, but by 
making the pie crust the day before, you not only improve 
the quality of the crust but simplify the last minute prep- 
aration. 

For the pie crust for Miss Davies' cheese patties: 



IJ-^ cups flour 
l^ teaspoon salt 



6 tablespoons shortening 
A little cold water 



1 can tomatoes 

2 cups grated American 
6 eggs 



..^^ 



Photoplay Magazine 

750 N. Michigan Ave., Chicago, 111. 

Please send me a copy of Photoplay's Cook 
Book, containing 150 favorite recipes of the stars. 
I am enclosing twenty-five cents. 



Be sure to write name and address plainly. 
You may send either stamps or coin. 



Sift the dry ingredients and rub in the shortening ver\' 
lightly with the fingertips. .\dd the water slowly, just enough 
to make a stitl dough. Roll out very thin on floured board 
and line patty pans, being careful to make pastry come well 
over edge of pan. 

For the filling: 

2 tablespoons butter 3-^ cup grated cheese 

2 eggs 1 teaspoon baking powder 

}^ cup bread crumbs One third cup milk 

Seasoning to taste 

Beat the butter until creamy and add slightly beaten eggs, 
bread crumbs, cheese, baking powder and seasoning. Mi.\ in 
the milk. Place a small quantity in each tin and bake for 
fifteen minutes in a hot oven. 

FOR Corinne Griffith's Nut Sticks, which are ideal to serve 
with salad: Work one-half teaspoon butter into a pint of 
flour into which you have sifted 1 teaspoon baking powder 
and }-2 teaspoon salt. I\Ii.\" thoroughly and add enough milk 
to roll into light dough. Roll out the dough until about one- 
fourth inch thick. Brush lightly with milk and spread with 
chopped hickory nuts or almonds, pressing the nutmeats into 
the dough. Mold strips of dough inio thin sticks, place in a 
shallow greased pan and bake to a delicate brown. 

In Photoplay's Cook Book you will find other recipes 
which will help you make your parties a success. By filling 
out the little coupon to your left, you may receive the Cook 
Book, with its one hundred and fifty star recipes, by return 
mail. 

Cakolyn \'ax Wvck. 

15 



Friendly Advice from Carolyn Van Wyck 




on 



Girls' 
Problems 



Men judge by appearances. And so, like Joan Crawford 

as Diana in "Our Dancing Daughters," the girl who 

has the reputation of beinga fiirt sometimes has a hard 

time convincing a man that she really loves him 



DEAR CAROLYN VAN WYCK: 
/ am in love! And, though I am 
twenty, I am in love for the first time. 
l)oein't it seem a strange statement — coming 
from a girl who has been called "ultra modern"? 
Everybody in my crowd, thinks that I have 
been in love ever so many times! 

And. oh. Carolyn \'an Wyck, that is my 
problem! For the man that I adore thinks so, 
too. He utterly believes that there have 
been other men — perhaps many of them — in 
my life. And, because he believes this thing, 
he has put up a strange sort of a mental 
barrier between us. And I can't seem to get 
beyond that barrier. 

I'm — well. I'm just dizzy over him! And 
that's the truth. I can't sleep for thinking 
about him. And it is not a foohsh crush, for 
I'm a grown woman. I know, too, that he feels 
the same way about me, for — to be \'ery per- 
sonal — he can hardly keep his hands oft me. 
.\nd he can't control his eyes at all. But — 
this is the trouble: 

I've always been what people call the "life 
of the party." I've danced the longest, and 
laughed the loudest, and stayed the latest. 
I've told the newest stories and sung the latest 
songs. I've flirted the hardest! And so I 
have the reputation of being spcedv. Only — 
I'm telling you the truth, Miss Van Wyck— 
my speed has all been on the surface. I've 
kept my lo\-e, all of it, for the man that I 
would s<ime day marry. I've kept myself 
clean for him. 

>»ow — I've found the man. But I can't 
seem to put over with him the fact that I'm the 
sort of a girl I really am. He is judging me 
entirely by surface things — just as e\er so 
many others judge me. And before I know it 
he wiU go off and marry some little pero.\ide 
blonde with big eyes — who lisps. And who 
does things, in private, that I wouldn't even 
care to think about! 

Can you gi\e me any advice. Miss Van 
Wyck? This is a vital matter, with me. My 

16 



life's happiness is hanging by a thread. 
And I don't know what to do to 
make it more secure! 

WiLM.I K. 

APPEARANCES— said the old 
-''■adage — are often deceitful. And 
it is the truth, this saying! Especially 
so in your case. Wilma — and, I ha\-e 
no doubt, in many another case that 
is parallel with yours. For you have 
gi\-en so much publicity to your 
youth and good spirits and desire for 
fun that you ha\-e allowed yourself 
to be quite misunderstood. And the 
sort of misunderstanding that you 
have permitted is the sort that is apt 
to breed serious trouble. 

As, for instance, in the case of Diana 
— the heroine of "Our Dancing 
Daughters." ^^^ 

Have you, by the way, seen "Our 
Dancing Daughters"? It you haven't 
I should suggest that you locate the theater 
at which it is playing. And that you go to 
see it, at once. And, if possible, take with 
you the young man that you love! Seeing the 
picture — and especially seeing it with you — 
won't do him any harm. 

For "Our Dancing Daughters" is the story of 
a girl who, in e\-ery way, is like you. She, too, 
has always been the life of the party. And 
when she falls in love, the man that she cares 
for distrusts her. And, as a direct result of 
this distrust, he marries another girl who 
seerns sweet and gentle and innocent. 

- Needless to say, the marriage is a miserable 
failure. It works out in a way brutally unfair 
to the man. The innocent, sweet girl has been 
hiding from him her real nature. But, after 
marriage, the real nature comes to light. It is 
only through blind luck that the stoiy comes, 
at last, to a happy ending! 

"Our Dancing Daughters" is a vivid pic- 
ture. It teaches that one's eyes do not always 



Appearances May 
Deceive 

Is This Month's Problem 

BY this I don't mean neatness and 
smartness and prettiness. When 
1 say "appearances," I mean some- 
thing very different. I mean the sort 
of appearances that label one girl 
"sweet" — and another girl "wild." 
.Sometimes the person that you see — 
the outside person — is quite different 
from the inside person. Sometimes 
unbelievable goodness of soul is hid- 
ing under an extremely sophisticated 
exterior. And vice versa! 

And — while we're talking of ap- 
pearances — remember that I'm ready 
to help with hair, complexion and 
clothes problems — as well as with 
matters of the heart! Beauty, health 
and happiness are all topics upon 
which I would like to advise you. 
Letters enclosing stamped, self-ad- 
dressed envelopes I will answer by 
return mail. Those without postage 
will be answered as soon as possible, 
in the magazine. 

For information regarding the care 
of the skin, send a stamped envelope. 
And if you want to weigh less (who 
doesn't?) send ten cents for my 
booklet on sane reducing methods. 
Write to me in care of PHOTOPLAY 

Magazine, 221 West 57th St., New 
York. CAROLYN VAN WYCK. 



record the truth — that circumstantial evidence 
can not be always trusted. It mirrors life with 
a real fidelity. E.\cept in this: In real life the 
ending might not have been so satisfactory! In 
real life the man might ha.\e had to be faithful 
for fifty years — to a desperate mistake. 

Wilma, I am going to gi\-e you the advice 
for which you ask. 'The ad\-ice isn't going to 
be that you curb your high spirits or give up 
your gayety, or that you cease being the life of 
the party. But I do ad\ise that you are a trifle 
more discreet in your actions — that you do not 
beha\-e, so completely, in a way that can be 
misunderstood. I might suggest that you try 
to be more modest and tactful — that you leave 
no opening by which you may be falsely 
judged. Folk, especially men, can not be 
blamed for putting their own interpretation 
upon too much license. They have only ap- 
pearances upon which to base their conclusions. 
How can they, without being psychic, know 

[ CONTINUED ON PAGE 98 ] 



Phoiuplay Magazine — Advertising Section 



17 





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When you «rile to advertisers please mention PHOTOPLAY MAOAZlNTi 



1 8 



Photoplay Magazine — Advertising Section 



H 



ow many 



other gifts it brings 



lOUTH, CHARM, LOVE, SUCCESS — how 

easily they come to the woman with a 
beautiful skin! 

Have you one of those naturally 
smooth, faultless complexions that are 
the envy of the great majority of 
womankind? Then cherish your good 
fortune ! You can keep your skin lovely 
all your hfe long if you begin now to 
give itjustthe right kind'of regular care. 

And even if you are not one of those 
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to start with— you can make it so! 

Six common skin defects are all that 
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Excessive Oiliness Blemishes 

Dryness Conspicuous Nose Pores 

Sallotvness Blackheads 

Every one of these troubles can be 
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after years of study, has not only 
worked out the proper care for normal 





/ /< is an easy thing for any woman to have a beautiful complexion, 

— now that scientists really know about tlie skin — what care it needs. 

Thousands of women say they owe their lovely color, the softness, 

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Every 



skins, but has developed special treat- 
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Get a cake of this wonderful soap 
today, and begin, tonight, to gain the 

advertisement In niOTOPI.AT MAGAZINE Is guaranteed. 



charm of "a skin you love to touch!" 
A 25-cent cake of Woodbury's lasts a 
month or six weeks. Sold at all drug 
stores and toilet goods counters. 

Send for the large-size trial set! 

The Andrew Jergens Co., 2201 Alfred St., Cincinnati, O. 
For the enclosed 10 cents — send the large-size trial cake 
of Woodbury's Facial Soap, the Facial Cream and 
Powder, the Cold Cream, the treatment booklet, "A 
Skin You Love to Touch," and instructions for the 
new complete Woodbury "Facial." In Canada, address 
The Andrew Jergens Co,t Limitedt22ol Sherbrooke St., 
Penh, Ont. 



Name 
Street_ 








^ 



LL roads lead to Hollywood. Dolores Costello was born in 
Pittsburgh and went to kindergarten at the old Vitagraph 
Studio in Brooklyn. In many of the melodramas of that day, 
Dolores was featured as the angel child with long golden curls. 




Lansing Brown 



C~7~\^^ ALVARADO comes from Albuquerque, New Mexico, that way station of Hollywood 

/ ^ where Indians sell beads and blankets to Califomia-bound tourists. His mother was Spanish 

and his father an American. One day Alvarado hopped a rattler and landed in the City of 

Angels and camera angles at a time when Latin ancestry was in great demand. He's married and 

has a young daughter, Joy Alvarado. 




i„in>iiiy Brown 



r w "^ROM Moscow to Hollywood — Olga Baclanova. If you want to be correct, pronounce 
t' it Bah-clahn-ova, with the accent on the "clahn." The Russian' actress received her train— 
«-^ ing at the Moscow Art Theater, at whose productions high brows fall flat on their faces. 
The lady is now playing in a Western — "Sunset Pass." With her foreign background and her 
experience on the stage as a singer, what could be more logical? 




Lansing Brown 



(T^^^^ARCELINE DAY — a native of Colorado Springs. Five years ago, with her mother 

^__yj ^ ^^'^ fier sister, Alice, Marceline arrived in Hollywood. Her first work was as an extra 

in Lois Wilson's picture, "Only 38." When there was no studio call, she attended 

school. Marceline has been leading woman for everyone from John Barrymore to Buster Keaton, 

from Ramon Novarro to Lon Chaney. 




(J^^^^^ARION NIXON was born in Superior, Wisconsin, and educated in Minneapolis. 

^^y (i 1^ Shs came to Hollywood via vaudeville and, like Marceline, served her apprenticeship 

as an extra girl, ornamenting the background of Mary Pickford and Charles Ray films, 

before she earned her first close-up. Her new address is the Pathe Studios, where she will be 

starred in "Geraldine." 




ii^m 



y^HARLES MORTON is one of the Fox youngsters whose acting makes "Four Devils" 

/ worth your attention. Born in Vallejo, California, Charles was educated at the University 

^/ of Wisconsin where he played football. He also held the Detroit Athletic Club record for 

the 220 yard swim. Morton played a season in vaudeville with William Faversham's company 

before he went into the movies. You'll see him with Janet Gaynor in "Christine." 







^ OSSARD "step-ins" 

are ItTtO STAY— and they're 
stepping up in general favor 
with every season. Considered 
revolutionary and decidedly ex- 
treme when Gossard first brought 
them out, their popularity has in- 
creased by leaps and bounds be- 
cause modern women have welcomed 
the ease with which they could be 
donned— the end of old-fashioned 
buckling and what not. There is ease 
and comfort within the gentle con- 
fines of a Gossard "step-in." Yet so 
perfectly does it mould and retain 
that you have the feeling of being 
tailor-made right down to the flesh. 
You enjoy the supreme satisfaction 
of wearing a foundation garment 
designed for your individual 
need. The model pictured here 
and described below is fea- 
tured by Gossard dealers 
the world over. Ask for it. 

A fourteen-inch step-in of rich 
brocade combined with elastic. 
Wide sections of elastic over hips 
and a five-inch gore in front en- 
hance the glove-like snugness of this 
garment. Boned front and back, and 
trimmed at lop with ribbon and flowers. 
Lacing adjustment at lop on one side. 
This is Model Number 738 .. . Retails at $7.50. 

THE H W GOSSARD CO.. Chicago. New York, San Francisco, Dallas. Atlanta. London. Toronto. Sydney, Buenos Aires 

Division ol As^ocialed Apparel Induslries. Inc. 







LSiick 
OTEUr 
G1FT§ 

LcLck one emhrses 
the aood task of 
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A GIFT for a day? Far more than that! Truly a treasure .... for 
months . . . and years! The mingled qualities of beauty, useful- 
ness and duration in Meeker Made distinctive leather goods 
appeal alike to giver and recipient. Besides the momentary thrill, you 
may be sure that the day-in and day-out utility of any one of these 
articles will prove a long-time reminder of your thoughtfulness and 
judgment. A Meeker Made handbag, underarm 
or vanity, rich in itself, will complement any cos- 
tume. Neutral in tone — a harmonizing accessory. 
A billfold, key case or set of two or three in 
matched design for the man, well — you just can't 
give him anything that is more practical or any- 
thing he would rather have. The genuine imported 
steerhide from which Meeker Made goods are ^^^^^■■F^ 1 
fashioned is the choicest of all the market affords. 




Origiokl ihapcs And 
itvlci lOjtechcr with 
their excellent crafts- 
manthip give these 
haniJbafi» their char- 
acter and enviable re- 
putation. 



Shapes arc smart. Designs, new :ind exclusive. Beautifully 
tooled, hand-colored and with hand-laccd edges, they repre- 
sent the leather craftsman's most distinguished effort. At the 
better dealers everywhere. 



The "Meeker Made" imprint in (he 
leather is your guarantee of quuhty. 
Look for ic. It is the mark uf Tlic 
Mcckcr Company, Inc.,Juplin, Mis- 
souri, hirjjcst m.inufjctiir(.T> of ntctT- 
hide Icjthcr ^iiods in [he U.S.A. 




finest imported fteerhlde 

^feather (j^oods 




Bags arc suede Icailicr lined. 
Have exclusive turn lock frames. 
.^ppropriatc fittings. In general 
effect and in detail, Meeker 
Made leather goods arc obvi- 
ously finer. 



There arc so many sugges- 
tions— Meeker Made—for 
him, A billfold with hisown 
initial, for instance ... or his 
lodge orclubemblera. A key 
case. Cigarette case. An at- 
tractively boxed gift set. Also 
other items. 



The National G 



u i d e to 

U'KADK MARK) 



Motion Pictures 




January, 1929 



k 



Close-Ups and Long-Shots 



-S 



"a 



R. Quirk 



FOR years we of the 
photoplay world have 
been told what we ought 
to see by the professional 
snoopers that roam the 
country. With the coming of 
talking pictures, it is probable 
that a lot of human ear-plugs 
will try to tell us what to hear. 

Now, most astonishing of all, a group 
of people in Hollywood are trying to tell 
us what to write about Hollywood and 
its folks. 

The Motion Picture Academy of Arts 
and Sciences is all hot and bothered about 
what it calls the "scurrilous, degrading 
and facetious articles published about 
personalities in fan magazines." 

' I 'HIS august body proposes, with the 
•^ help of press agents and a few marines, 
to establish a "white list" of magazine 
writers whom it is safe to admit to the 
studios. 

Once in, they can write a lot of pretty, 
backscratching pieces about the gods of 
filmland. 

Unbelievable though it may seem, it 
is reported that one famous leading man 
has actually moved toward the deporta- 
tion of a British magazine writer who 
grinds out articles for periodicals in this 
country and his homeland. 




©_ 



S" 



Such astoundingly high- 
handed procedure against the 
freedom of the typewriter 
could only be born in the mad- 
der sections of the film colony. 

TARS are no longer born 
in the shadow of the Sphinx, 
nor do they keep pet doodle- 
bugs, nor do little children run at the 
approach of vampires as they did in the 
golden days of fan rubbish. 

Can it be that these actors and pro- 
ducers object to a little truth? 

No one gets scurrilous at the expense 
of Hollywood any more. It is both 
wrong and out of fashion. But the self- 
anointed censors don't seem to know 
that. They appear to be living, in misty 
stupidity, in the days of 1920. 

Photoplay, at least, tries to play the 
game of Truth with its two million readers 
and the picture people. And it does not 
like to see anyone in filmland deal from 
the bottom of the deck. 

A S for the press agents, called in to 
■*■ *-help the outraged mummers, it is 
really too bad. Ink is their life-blood, 
and white paper their world, and if they 
try to join hands and turn on the writ- 
ing people, it will be tantamount to neatly 
slitting their throats with their own 



.^L. 



Tr 



paper cutters. If they are wise, they will 
cut and run for the deep woods until the 
fussing Academicians forget this silly peeve 
and begin fuming and sputtering about 
something else. 

Oh dear! Some people never will learn 
when they're well off! 

A LITTLE German girl is going back 
home from Hollywood. 

In this fact is hidden one of the little 
heartbreaks of the gold coast. 

Irving Thalberg, honeymooning in Ger- 
many, found Eva von Berne and imported 
her. They reduced her and redressed her 
and primped her, and put her across from 
Jack Gilbert in "Masks of the Devil." 
Now she is going home. 

Metro-Goldwyn says the talkies have 
made her garbled English useless, but we 
can take that or leave it alone. 

I am afraid the truth is that Eva just 
wouldn't do. She didn't photograph well, 
and her acting opposite the star didn't 
spell anything like hit. 

And so a little German girl is going back 
to Deutschland, probably with a serious 
crack in her heart. Goodbye, Eva. It's a 
tough break. Just a little Cinderella on 
whom the prince couldn't fit the glittering 
slipper. 

WHEN Prince George of England 
played hookey from his cruiser and 
made whoopee in Hollywood he did a better 
job of handshaking across the sea than a 
dozen notes by nervous, high-strung diplo- 
mats. 

Young George struck the human note on 
the royal xylophone when he tea'd with 
Lily Damita, dined with Mary Pickford 
and danced the morning in at Fatty Ar- 
buckle's night club. 

The whole country smiled at his carry- 
ings on. Only his captain seemed a little 
peevish. 

And when his girl friends wirelessed the 
ship at sea, offering condolences on his 
punishment, the kid had a good-sport answer 
ready. 

"The fun I had in Hollywood was worth 
it." 

THE Soviet Government's newest blow 
for Art to reach this country is "Ten 
Days that Shook the World." It ought 



28 



to be retitled "Ten Reels that Ruined the 
Eyesight." And while it seems too bad 
to dampen the enthusiasm of those who 
rate the Russian film directors higher than 
our local talent, may we remind the public 
of a few facts? 

All films made in Russia are produced un- 
der the direct supervision of the Soviet 
Government. 

They are pure propaganda and should be 
plainly labeled as such. 

THE Soviet Government is no more in- 
clined to give an unbiased picture of the 
events of the Revolution than is the Anti- 
Saloon League likely to give you the 
straight facts on Prohibition. 

For example: in "Ten Days that Shook 
the World" Trotsky is completely elimi- 
nated from the picture, although he was an 
active factor in the Revolution. But Trotsky 
is out of favor and the present leaders don't 
want to give him any publicity. 

SO when you go to see a Soviet picture, 
keep a few of these points in mind. 

Remember that you are seeing Russian 
history as the Soviet leaders want you to 
see it — not as it happened. 

Remember you are paying your admission 
fee, not for a commercial product, but for 
advertising. 

And remember that there isn't a political 
party in this country that could produce 
such propaganda and have it presented in 
theaters where an admission fee is charged. 

IS the heavy film lover dying with the 
immortal dodo? 

With all precincts reported, Peoria, 111., 
votes "yes." 

Lon Chaney is cock of the walk in the 
middle west now. The great Putty King, 
in "When the City Sleeps," outdrew John 
Barrymore, Ronald Colman and Rod La 
Rocque combined in the same length of 
time. 

CHANEY is the best bet, with Emil 
Jannings not far behind and George 
Bancroft a hot third. The day of the hairy 
he-man is in, as far as Peoria goes. 

You remember the old political saying, 
"As Peoria goes, so goes the nation." Take 
heart, male fans! Perhaps it's out of the 
boudoir into the logging camps! 



A 




onny 



Ten years later another 
film hit comes to the Lee 
family, as little Davey 
follows Brother Frankie 
to fame 

By 
Tad Hastings 



THIS is a story about a little boy and his big 
brother. 
Credit for the little boy's discovery has been 
given to Al Jolson. It belongs, instead, to a woman and 
to an obscure casting director. 

The woman knew long before anyone else that this little boy 
was a remarkable child. It is not strange that she knew, how- 
ever, for she is his mother. And mothers know a great many 
things long before other people know them, and often are not 
given credit for the knowledge. 

The name of the lad is Davey Lee. He will be four years old 
exactly fourteen days after this story goes on all newsstands — 
on the twenty-ninth of December, to be specific. 

So you see, he is a sort of combination Christmas present and 
New Year's greeting — one that people will cherish forever if he 
continues his present cinema pace. 

Davey plays the part of Sonny Boy 
in Al Jolson's new picture, "The Sing- 
ing Fool." And he fairly tears the 
heart out of you, too, when, dying, he 
asks his daddy to sing him to sleep. 

The story of how Davey became 
Sonny Boy is one of those strange tales 
for which Hollywood is famous. It is 
part and parcel of the bizarre fabric 
that makes the town unique. It is 
another case where truth is stranger 
than fiction, where fact is more potent 
than fabrication, where the press 
agent's conception falls far below par. 
The real story is saturated with shat- 
tered hopes, with doubts and disap- 
pointments; it brims with heartbreak. 
For it is the story of how an older 
brother was called, but a younger 
brother chosen. 

Frankie Lee is the older brother. 
Frankie, the little crippled boy of 
"The Miracle Man" — not a real crip- 
ple, of course, just the youngster who 
acted the part. That was ten years 
ago. Yet it left an unforgettable im- 
pression, one that survives to this day. 

And the tragedy of this story is that 
Frankie was called first for the part 
that made his baby brother famous. 

But Frankie is now si.xteen. He has 
been going to Hollywood High for 





You'll be touched by little four- 
year-old Davey Lee's sincere 
playing of Al Jolson's son when 
you see "The Singing Fool." As 
soon as Jolson saw Davey he ex- 
claimed: "Come to Uncle Al" 



Of course you remember Frankie Lee as the 
crippled boy of the unforgettable "Miracle Man." 
Frankie is sixteen now and he goes to Hollywood 
High. The Warner Studio, forgetting that boys 
grow up, called him for the role in "The .Singing 
Fool" — but Davey walked right into the part 

several years. He is tall and gangling, and he does not even 

remotely resemble that whimsical Mttle fellow with the wistful 

smile in "The Miracle Man." 

Yet in the minds of producers and directors, Frankie Lee has 

never grown up. He is still, to them, " that little Miracle Man 
kid." Thus we see how indelible was 
the imprint of his work. Its eflfect 
upon memory produced a picture that 
cannot be erased. 

A SHORT time ago, Frankie was 
called to take a test with Lois 
Moran for "The River Pirate." William 
K. Howard remembered him. In fact, 
Howard proved himself the e.xception 
to the rule by actually daring to con- 
sider that possibly Frankie had grown 
up. He wanted Frankie, not for a 
child part, but for a full-fledged young 
man's role. Frankie, however, was a 
little too immature, so the part went 
to Nick Stuart. 

But that test put the celluloid virus 
back into Frankie Lee's blood with a 
vengeance. 

" Mother," he said, " I'm all steamed 
up and want to get back into the 
game." 

So mother, in the role of manager 
once more, undertook to restore 
Trankie's career. 

And here's where the heartbreak 
begins. Wherever Frankie went, he 
found himself surrounded by little 
children, kids often less than half his 
size — all called for the one part. 

It was most embarrassing. 
[continued on page 101 ] 

29 




Wrong 



A typical "star" luncheon, so fatal 
to health and happiness, demon- 
strated by Josephine Dunn. Crack- 
ers, 100 calories; cottage cheese, 50 
calories; consomme, 13 calories; 
pineapple, 50 calories. Food fit for 
neither man nor beast! 




Q)lET- 



By 

Rather ine Albert 

Why the average 
woman risks her 
health when she 
attempts to 
achieve a movie 
figure 



Unwittingly, the producers are modern Shylocks who, 
when they demand a pound of flesh, also demand a part 
of the life-span of the star; without realizing the grave 
responsibility they assume the producers point the way 
to the hospital and set an example that threatens to pro- 
duce a race of anaemic, tubercular weaklings. 



H( 
1. 



Right 



A satisfying meal for a girl who 
wants to lose two or three pounds 
a week — roast beef, baked potato, 
spinach, pickled beets, cucumbers, 
buttermilk and fruit cup. Remem- 
ber, you can't do good work on a 
starvation diet 



DIET! It has put one world famous star in her grave, 
has caused the illness of many others, has wrecked 
careers and has become, largely through its practice in 
Hollywood, the Great American Menace! 
For as Hollywood does so does the rest of the world. 
It is a grim problem — this matter of diet — and it concerns 
not only every Hollywood studio but every home in the United 
States as well. High school girls of fifteen or si.xteen, who need 
wholesome, body-building food, are actually putting their lives 
in peril when they cut down their rations and refuse everything 
but a hard boiled egg and an ounce of spinach, or attempt to 
hve on nothing but lamb chops and pineapple. 

The wife of the household prepares well cooked, savory meals 
for her husband and then nibbles on a few "health" crackers 
in order to have a sylph-like figure! 

The fault may be laid at the doors of the studios! 

30 



OSPITAL reports show that there is more tubercu- 
losis among women than ever before and that this is 
the direct result of diet! 

The foremost physicians declare that they treat 
thousands of cases of anaemia. Diet — a death's head 
wearing the mask of beauty — is again responsible! 
The stars have set the styles in slim figures. 
The correct weight for a girl five feet two inches tall is 
119 pounds. The average screen player of this height 
weighs only 108 pounds. 
A survey of all the studios embracing the film plants of 
Culver City, Burbank, Westwood and Hollywood and in- 
cluding one hundred fifty of the most famous, most envied 
film celebrities, resulted in the compilation of a table of heights 
and weights showing that the players are from ten to fifteen 
pounds underweight, according to medical standards. 

This means that they have starved themselves for pictures, 
for personal whims, or to be fashionable untU they have 
lowered their physical resistance to the danger point and are 
unfit to do the strenuous, nervous, emotional work required 
of them! 

Barbara LaMarr died of tuberculosis brought on by weight 
reduction. Kathryn Grant ruined her career and was made an 
invalid from starvation. Lottie Pickford took her life in her 
hands when she resorted to quick reducing medicines and is 
today virtually an invalid. Eva von Berne collapsed on the 
set after trying to lose ten pounds; Flobelle Fairbanks, niece 
of Doug, caused her family much concern and endangered her 
health by indulging, secretly, in a lime juice diet. Lina Bas- 
quette has just come out of a gruelling, enervating reducing 
process. Molly O'Day, now one of the most famous of those 
waging the battle against avoirdupois, is convalescing from an 
operation for the removal of surplus flesh — an operation which 
has resulted disastrously for others. Excess weight ended the 
film careers of Clara Kimball Young, Mrs. Sidney Drew, Leah 
Baird and Katharine McDonald. 



The Menace 

of 

Hollywood 



A girl may be the reincarnation of Duse, she may have the 
histrionic ability of Bernhardt, she may be able to touch the heart 
of humanitx', but if she is five pounds overweight according to screen 
standards — that! for her career! 

Why this mad search for slimness? Why must the stars starve 
themselves? 
There are two reasons. 

According to Dr. H. B. K. Willis, one of Hollywood's best known 
physicians who daily turns down dozens of women who beg to be 
reduced quickly, it is a mistaken idea on the part of the producers. 
They think that the public demands stream-lines in stars and, 

believing this, set the 
dangerous example to 
women of the entire 
world who blindly at- 
tempt to copy Holly- 
wood's prevailing 
figure. 

The second reason 
concerns only the pic- 
ture girls and no other 
women. 

If a practical stereo- 
scopic camera lens 
were perfected these 
all too rigid diets would 
be unnecessary. 

When a woman steps 
in front of the camera 
she adds from live to 
twenty pounds to her 
figure. The camera 
photographs but two 
dimensions. This tends 
to flatten a round 
object. Look at a pipe. 
Then shut one eye. The 
pipe immediately 
widens and appears 
several inches broader 
than it really is. 




Hollywood may slowly 
return to the natural 
figure. Anita Page, for 
instance, is five feet, 
two inches tall and 
weighs 118 pounds, 
which is a sane weight. 
.\nita prefers to follow 
health charts rather 
than camera lines 



CORRECT DIET 


Compiled by Dr. Willis from works of 
the most famous authorities on diet 


BREAKFAST 




}^ large grapefruit 
Scalloped codfish 
Stewed tomatoes 
Saltine crackers 
1 cup coffee 
1 teaspoon butter 
1 teaspoon sugar 


374 
Calories 


LUNCHEON 




2 large slices lean roast beef 
Tomato or mushroom sauce 

1 medium baked potato 

2 heaping tablespoons spinach 

2 heaping tablespoons pickled 

beets 
8 slices cucumbers 
1 glass buttermilk 
1 teaspoon butter 
1 fruit cup 


654 
Calories 


DINNER 




1 slice cold roast lamb 

2 heaping tablespoons squash 
Mint sauce 

1 tablespoon green peas 

3 heaping tablespoons mustard 
greens 

Mediiun sized tomato salad 
Mineral oil or vinegar 

2 small biscuits 
' 2 cantaloupe 

1 glass skimmed milk 


524 

Calories 


1552 
Calories 


{This must be varied every day. It will reduce 
you from 2 to i pounds per week) 


STAR DIET 


This is what the stars eat — it's wrong! 


BREAKFAST 




Hot water 


000 calories 


LUNCHEON 


8 tablespoons consomme 

2 saltines 


13 calories 

100 calories 

25 calories 


3-4 pound tomatoes 


DINNER 




Cottage cheese 

2 oimces pineapple 

1 glass butterrnilk 


50 calories 
50 calories 
67 calories 




305 calories 


Sometimes 




1 hard boiled egg 

6 otmces spinach 


100 calories 
100 calories 




605 calories 



31 



How the Camera Lies About Figures 




Don't envy the unnaturally thin figure of your 
favorite star. Remember, that it is usually 
achieved by a dangerous diet. In trying to reduce 
her weight too quickly, Barbara La Marr con- 
tracted tuberculosis. She paid for her beauty 
with her life 



A skillful cameraman may arrange his lights so that this 
condition is helped, but only the three dimensional lens will 
alleviate the necessity of the stars being underweight. 

Dr. Willis declares that it is detrimental to reduce more 
than two or three pounds a week. 

That's a nice idea. A physician can sit calmly by and make 
this truism, but — and this is large and vital — when a pro- 
ducer sits back in his leather chair, looking out across his 
mahogany desk and says to a girl, " You may have the leading 
role in my ne.xt super-epic if you will lose ten pounds in the 
ne.xt ten days," what is the girl going to do? 

Before her lies fame and fortune, lu.xury and acclaim. Is 
she going to think of her health? Is she going to heed a 
doctor's advice? Not much! She has heard the ullimatum. 
"Lose ten pounds in ten days." A career against her health. 
The career always wins. 

Twelve hundred calories is the minimum prescribed by Dr. 
Willis. And this is used only in extreme cases, for excessivelv 
fat women. The sensible, balanced diet has 1552 calories per 
day. The average picture girl receives no more than 500 
calories a day! Impossible for her to do the kind of work 
required on that! 

I have seen Joan Crawford make an entire luncheon on a 
few tablespoonfuls of cold consomme, a dish of rhubarb and a 
half dozen crackers thickly spread with mustard. And this is 
a day after day performance. 

32 



Is it any wonder that Joan is constantly under the 
care of a doctor? She knows that such a diet is none 
too good for her, but what is she to do? She has to 
keep thin. 

Alice White reduced from 126 pounds to 96 in a 
few weeks. What a shock to the nervous system! 
She began by going on a lamb chop and pineapple 
diet for a few days and then had "just a sensible 
diet," consisting of salads and fruits amounting to 
all of 400 calories, no doubt! 

POL.\ NEGRI took off ten pounds with an egg and 
spinach diet. Six ounces of spinach contain 100 
calories, one hard boiled egg is another hundred. It 
was the critics who forced Pola to this extreme 
measure. The Negri just won't be told by pro- 
ducers. She had to be convinced and, when "The 
Woman of the World " was released, almost every 
newspaper commented upon her excessive weight. 

Renee Adoree's work in "The Big Parade" stands 
out as one of the classic gestures of the screen. 
Never before or since has she reached greater heights. 
At that time she weighed more than she ever did, 125 
pounds. The producers did not complain then 
because she characterized a French peasant girl, but 
immediately that the picture was finished they 
insisted that she lose. A few days ago the scales 
pointed to 97 pounds. 

She has paid dearly for an intensive course in diet 
and steam baths and mas- 
sage. She has paid with 
illness and ragged nerves. 




Kathryn Grant 
had a beautiful 
figure, but she 
was just a little 
too plump for the 
eye of the camera. 
Kathryn tried to 
reduce in a hurry. 
Trying to undo 
the mischief of a 
foolish diet, she 
spent months in 
a sanitarium. 
Today she is an 
invalid and studio 
work is out of the 
question 



Don't Be Guided by Star Weights! 



Without being given a chance to show what 
abihty she had, Dimples Lido was shipped back 
to Germany because she gained weight that she 
could not seem to take off. She was discovered 
by Carl Laeninile on the Riviera and brought to 
Hollywood. Naturally bu.xom, she added several 
more pounds to her figure and was given her 
conge. She might have been the world's greatest 
actress — who knows? She might have had the 
subtlety of a Mrs. Siddons but she was over- 
weight! Finis — enough — out! 

Perhaps Dimples is one of the fortunates. 
Better for her, no doubt, to have been forced to 
give up her career than to put herself through the 
rigid demands of diet. 

Eva von Berne's entire future rests upon just 
ten pounds. She is only eighteen years old and is 
built along generous, continental lines. At the 
time of life when she needs good, substantial food, 
she is dining upon lettuce salad and sliced pine- 
apple. She looks pale and haggard and her cry is 
the same as the others, "But what am I to DO? 
What am I to do?" 

PITIFUL, lovely Barbara LaMarr— her search 
for slimness cost her her life. She resorted to 
the most drastic means of taking oft weight — 
methods too horrible even to recount. This 
struggle so depleted the energy of "the girl who 
was too beautiful " that she was an easy victim of 
tuberculosis. 

And then there is Molly O'Day! What will be 
the fate of the O'Day? A part of the story was 
recounted in the August issue of Photoplay, but 
what of this recent development? Molly is over- 
weight even for a non-professional. At the begin- 
ning of "The Patent Leather Kid" she was 
twenty pounds heavier than she should have been 
for the screen. Her test showed acting ability 
and she was told that she could play the part if 
she would lose twenty pounds. She did at the 
rate of half-pound a day. 

But Barthelmess hurt his foot soon after the 
picture was started and Molly, playing opposite 
him, was left at home while the company went 
north for war scenes. Thin and svelte she was 
when the company left, as the sequence at the 
ring-side showed her. But when the troupe re- 
turned she was fat and chunky. 

In discussing her case, Al Santell, director of "The Patent 
Leather Kid," said, "The real reason for flesh is self-assurance. 
Molly O'Day was acclaimed the great find in years and she 
believed it. She was sent away to lose weight and finally a wire 
came saying she was thin and ready to start a picture. 
When she walked into my office, she was pathetically fleshy." 

And then she resorted to a drastic method. Dr. Robert B. 




Why it is 


dang( 


jrous to copy 


a movie star 


in fi 


nding your correct 


weight 


Height 




Health weight 


Star weight 


5 ft. 




114 lbs. 


96 lbs. 


5 ft., 1 in. 




116 lbs. 


104 lbs. 


5 ft., 2 in. 




119 lbs. 


108 lbs. 


5 ft., 3 in. 




122 lbs. 


Ill lbs. 


5 ft., 4 in. 




125 lbs. 


115 lbs. 


5 ft., 5 in. 




128 lbs. 


1 19 lbs. 


5 ft., 6 in. 




132 lbs. 


122 lbs. 



Molly O'Day is recovering from a drastic surgical operation 

that removed the flesh that threatened her career. But 

will the fat return? And what will be the after-effects of 

this strenuous and painful treatment? 



GrifBth, who claims that quick reduction is harmless (a large 
part of Griffith's chentele is made up of women who want to 
" take it off" at any cost), performed an operation on MoUy. 

THE knife made long incisions on either leg and across the 
stomach and the fat was removed. Electric needles 
to melt the fat away were used, also. 

Molly remained under the ether for an hour and 
fifteen minutes while the operation was performed. She 
has suffered acutely, but the doctor assures her that 
there will be no scars left and that she wiU be from 
twelve to fifteen pounds lighter. 

Will there be any ill etTect from this? WiU the fat 
return? That remains to be seen. Al Santell believes 
that the operation will do no good, for there is fat all 
over Molly's body. She is a splendid actress. Her 
director, her producer, her public know this. But un- 
less she is more than sylph-like her art will be completely 
wasted. This is the demand of the screen! 

She has high hopes now. Wan and convalescent in 
the hospital, she smiled and expressed the wish that this 
drastic measure would allow her to continue her career. 

Some of the stars are really sensible about diet. Mary 
Pickford, for instance, often takes the milk cure, pre- 
scribed by reliable physicians. Lillian Gish is prac- 
tically a vegetarian. 

The "Miss Los Angeles" of a few years ago was 
Kathryn Grant. A film career was assured when she 
was given a long term [ continued on page 113 ] 

33 




Girl 

Wanted 



By Cal York 



Charlie Chaplin went to a 
Los Angeles fight recently. 
He saw Virginia Cherrill, a 
blonde Chicago visitor to the 
coast. He signed her imme- 
diately for his forthcoming 
comedy, "City Lights" 




JUST what does it take to be Charlie Chaplin's leading lady? 
If you can figure that out, you can be Mayor of Beverly Hills and dance 
the first seven dances with Clara Bow. 
For Charlie's leading women have been the sensation of Hollywood and, 
later, of the movie-mad world. Hollywood wakes up every morning, stretches, 
yawns and asks the clerk what the latest quotation is on Chariot's Lead, Pre- 
ferred. 

There's no answer. Evidently, all a gal needs is a lot of luck, all good. 

Recently Chaplin saw a Chicago girl 
named Virginia Cherrill at a bo.x fight. 
Before you could say Waladek Sbyszko she 
was made leading woman of "City Lights," 
his new film. She probably didn't know a 
Kleig light from an assistant property man, 
but, P. S., she got the job. 

Of course, if you are a nut on hunches, 
believe in numerology and once played the 
Ouija board, you can go for the '"A" hunch. 
Look at the list. 

Edn-A, Lit-A, Georgi-A, Mern-A, and 
now Virgini-A. 
But let that go. 
Chaplin, himself, carried it further. 

HERE are the characteristics he wants in 
one of his leading women — 

Appeal, adaptability, ambition, amiabil- 
ity, and attractiveness. 

The ayes seem to have it. 

Where other stars hem, haw and figure, 
ChapHn picks his girls out of thin air. If 
he knew of thinner air, he would go to it. 

If you girls think you are all broken out 
with a rash of "IT," don't bother about a 
Chaplin job. He places physical appeal last 
in his list of qualifications. 

Hear the Little Grey Clown himself on the 
subject. 

"To be a leading lady for me," says 
Charlie, "a girl must have appeal, but not 
necessarily sex appeal. She must have 
youth, but not necessarily screen experience. 

"In fact, I prefer that she have no picture 
e.xperience. Without it, she has fewer faults 
to correct. She must be adaptable, too, in 
order to take direction. She should have 
some appreciation of music in order to be 

The very first scene of Charlie Chap- 
lin and his new discovery, Virginia 
Cherrill. Charlie says his leading 
women must have appeal, adapta- 
bility, ambition, amiability and at- 
tractiveness. All A's — and Virginia 
fills the bill. Charlie's leading 
women last one picture and then 
depart. But they're famous 



isa 



•iU 



'No Kxperiena Required 



I 



"To be a leading woman 
for me," says Charlie 
Chaplin, "a girl must 
have appeal but not sex 
appeal'' 



susceptible to vibrations. When one becomes absorbed in a part one 
is only a sounding board reflecting the play of emotions. 

"Also, a girl must be ambitious. Otherwise, she will not take her 
work seriously. And to succeed, one must be intensely serious, par- 
ticularly in pictures." 

All the Chaplin leading women have possessed these qualifications. 

Run down the list. Edna I'urviance, Lita Grey, Georgia Hale, 
Merna Kennedy and now Virginia Cherrill. 

NOTE well that there has been something dramatic — something 
really romantic, about the bolt of lightning that has hit these 
unknowns, from first to latest. 

In 1915 Chaplin went to a dance in San Francisco. He didn't 
crave it, but he went. There he met a blonde girl from Lovelock, 
Nevada, who was learning stenography in the Golden Gate town. He 
danced with the girl, and liked her. Her name was Edna Purviance. 

Today that same blonde girl, who never had a written contract with 
Charles Chaplin in her life, who received other ofTers and could have 
left him flat on the lot, who never took advantage of her position as the 
great comedian's lead — is still on the Chaplin payroll at precisely the 
same salary she enjoyed during the height of her popularity. 

Chaplin's intimates say that whether Edna Purviance makes a 
picture or never postures for the camera again she will still be on that 
salary list at full pay. 

That's the Chaplin sense of loyalty. 

Charlie first met Lita Grey when she was doing an e.xtra bit in 
"The Kid." She was just a spindly kid then, less than 12. She and 
her mother both worked in that one, and in "The Idle Class." 

Then, when Charlie began "The Gold Rush" without a leading 
lady Mrs. Grey brought Lita over to show the comic what a big girl 
she was now. 

She wore an organdie dress, and its simplicity caught Charlie's eye. 
He made a test of her, bundled in furs. After all, he might need a head 
girl before the film was through. The rest is in the book. 

GEORGIA HALE was discovered along with Joe von Sternberg. She 
was the leading woman in "Salvation Hunters." George K. Arthur, 
then a cocky little Britisher doubling from the grocery business into 
films, wangled Charlie into taking a look at the picture. 

That great story, too, is in the book. Arthur got a swell job w^ith 
Metro-Goldwyn, and Chaplin made Miss Hale leading woman in 
"The Gold Rush" after his marriage to Lita Grey. .\nd Georgia is 
"_Chaplin's staunch admirer and friend today. 

Oddly enough, Merna Kennedy was introduced to Chaplin by 
Lita, who recommended her for the lead in "The Circus." That, of 
course, was pre-war, before suits and counter-suits had turned Chaplin's 
hair grey, and no pun meant. 

The story of Virginia Cherrill remains to be told. Time will tell it. 
The beginning is dramatic and romantic. What the end will be is in 
the lap of the gods. 

Since Purviance's day, no leading woman for Chaplin has made more 
than one picture. They come and go, like the seasons and the family 
bootlegger. 

They are not too beautiful, these children of chance. They are with- 
out experience. 

What to do, girls? Carry a rabbit's foot, probably. 

And yet the rabbit .once had four of them, and what good did they 
do him? 



6^dnm 




bo 




%e Studio Murder 



Two conflict- 
ing confes- 
sions baffle 
the Holly- 
wood Police- 
Try your skill 
at solving the 
startling 
crime and win 
$3,000 

What Has Gone Before 

Dwight Hardell, one of the foremost 
players of the Superior Films Company, 
is found dead on Stage Six. Hardell, who 
has played heavies, has been something 
of a scoundrel in his private as well as 
his make-believe life. He has an un- 
savory reputation as a ruthless philan- 
derer. 

Chief of Detectives Smith quickly 
takes over the investigation. The search 
for clues starts. It is revealed that Har- 
dell and Director Franz Seibert left the 
studio together at 12:17 a. m. after 
working together for three hours on close- 
ups in an otherwise deserted studio. It 
also develops thai Billy West, Seibert's 
■ assistant, and Yvonne Beaumont, a 
French actress, were in the studios on the night of the murder — on 
mysterious errands outside their film work. 

The corotier's examination of Hardell's body tends to show, 
strangely enough, that the actor must have died before or shortly 
after midnight. The death weapon was a rapier used in the film 
scene. This weapon is without finger prints of any kind, although 
other prints are found on the murder set. 

The investigation continues. Now go on with the story. 

FOR a moment the president sat looking back unblink- 
ingly into the detective's grey eyes. Then he said thought- 
fully, "Four people you say. Veil, there vould be Seibert, 
and Hardell . . . and maybe Billy Vest, but I do not 
think so. Seibert sometimes vorks absolutely alone. Veil, then 
there vould be Seibert and Hardell. That is two. You mean 
two more besides them, then?" 

"I mean four besides Hardell, the murdered man . . ." 
"You mean four people vere mixed up in that murder? 
You mean you got four suspects?" 

36 




"That's more like it, when I identify the fourth . . . who at 
this point is just 'another woman'," returned Smith. 

"Another voman. You haflf then von woman already?" 

"Proof positive that Miss Beaumont came out here last 
night to see Hardell, and evidence tending to show that she . . ." 

He was interrupted by Rosenthal, who made a low moan of 
protest. 

"I could not to believe it! You do not know her! No, there 
iss something the matter vid your evidence!" he stuttered, and 
then, "And already ve are going to star her! Already ve haff 
bought a story, just for her, and Bonet is to direct it! Ve haff 
the news stories in all the papers, last week, and in all the fan 
magazines . . . ve haff our releases aU set ... I tell you, Mr. 
Smith, this is terrible! I do not believe it!" 

"Sergeant Clancy has the case all cut and dried," said 
Smith, grinning reminiscently. "To his mind Miss Beaumont 
is the guilty person. But so far she is really just a possibility." 
Then he told Rosenthal of the note taken from BiUy West, and 
written to Yvonne. 



Mystery 



By 
The EDINGTONS 




"Veil, and because she writes a silly letter, you make of her a 
murderess! That man Clancy is a dumb bell ... a fool! 
exclaimed Rosenthal angrily. 

"Ah . . . but . . . there were finger prmts on the set . . . a 
woman's fingers marked in blood on the canvas door . . . plenty 
of other finger marks ... and when these are matched up with 
the ones on the letter, I am afraid . . . but, we will go to the third 
party, a man who wore rubber soled shoes, bull-dog grip. Does 
your night watchman wear such shoes.-"' 

ROSENTHAL held out his fat hands protestingly. 
"Mr Smith, how should I know vat my night vatchman 
vears? I do not look at the feet of my people. It is their faces 

I should look at!" ,. ,. r -j .t ■„„ 

"Forget the question. I was only thinking of identifying 
the man . . ." Smith looked up and smiled. "But, such shoes 
were certainly on that set!" He described the trai left by 
them, adding. "If the wearer of those shoes is the murderer we 
know that he was on the set for several minutes after he killert 



Itluitriiled by 
C. A. BRYSON 



"Billee! Why have you the hand- 
cuffs on?" Yvonne burst into the 
room, her grey, dusky-lashed eyes 
wide with terror, her sweet red 
mouth quivering. "Billee! Talk to 
me! 1 have heard when I come on 
the lot that Dwight is murdered! 
Tell me! You . . . didn't." She 
stopped and her great eyes, now 
tear filled, questioned him. "He 
said he did, Miss Beaumont," said 
Chief of Detectives Smith, quietly 



Hardell, or, he left, and returned a 
few minutes later. If this is the man I 
think, and if the evidence of the gate- 
man shows him to have been here in the 
studio at that time, he will have to 
have a darn good alibi. . . . Now, as to 
the fourth person. We will call her 
the 'unknown woman.' I say fourth, 
but this person may turn out to be 
the same as the writer of the note . . . 
Miss Beaumont. 

OUR unknown woman was also on 
the set at the time of the murder. 
She either committed it, or witnessed it. 
How do I know? I shall have to keep 
some of these tale-telling clues to my- 
self, but you shall know them all in 
time. She was frightened . . . forced 
to hide, at one time. Later she 
must have gone to the body of Hardell, 
and, in an attempt to find if he 
were dead or not, leaned down 
and touched him. She got blood 
on her hand, which evidently terrified 
her, for she fled the set. I know that 
she- was terrified, and that she fled, 
because she left her finger marks, in 
blood, on the canvas door. A per- 
son in a normal state of mind would 
not have done that. If the finger 
prints on the door, and the ones on the 
letter paper are identical . . . you see 
what we have? Beaumont. Also, other things carry out the 
theory. She was angry at him. Perhaps afraid of him. .\ny- 
way, 'furious because he persisted in his attentions. \ furious 
woman sometimes acts . . . and thinks afterwards. That the 
murder was unpremeditated, if committed by this woman, is 
probable . . . most likelv. She killed him. and then, became 
horrified, and hvsterical ... in short, rushed away. 

"Now, as I said, we have four suspects: Seibert, who was 
undoubtedly the last man to be with Hardell the night he was 
murdcreci; the wearer of the rubber-soled shoes, who has left 
his bloodstained evidence for all to see; Miss Beaumont, who 
wrote Hardell that 'tonight she would end all between them." 
(Rather a significant remark, don't you agree?) And then, this 
third party ... a woman, from the small finger prints, who . . . 
dipped her hand in Hardell's life blood!" 

Abraham Rosenthal sat in stunned silence. Accustomed to 
visualizing a scene presented to him . . . trained by his pro- 
fession to put life and movement into mere names of persons . . . 
he was now looking at this dim set, through which dark and 

37 




La 
"I 



''T was a grand night for a murder, sor, as I said to MacDougal," 
Lanning, the night watchman, told Chief of Detectives Smith, 
made me rounds and near froze to death with the dirty fog 
creepin' down me back. Things began to happen. Whin I starts on 
me 11:30 round I sees a woman's figger runnin' down the women's 
dressin' rooms. I see it steahn' out of the bushes on the West side 
of Stage Six, and makin' for the stage door. That was just at mid- 
night." 



19 Prizes, Totaling $3,000, Offered for 
the Best Murder Mystery Solutions 



sinister figures flitted, and in which a man has been stabbed to 
death; it was all frightfully real to him. 

" Gott of Abraham!" he finally groaned. "Iss it that all my 
people are murderers?" 

"All men are murderers — yes — Mr. Rosenthal," said Smith 
soberly. "There is a time in every human's life when the 
veneer of custom is thrown aside . . . at least in the mind . . . 
and in such times the taking of another human's life becomes 
a possibility ... at least in thought! I believe that a great 
many people have felt an irresistible impulse towards murder! 
To some it may come through a desire to strangle . . . with 
the hands. To some it may be an over-powering impulse to 
pull the trigger. ... I fully believe that some men who have 
become murderers have only yielded to this momentary im- 
pulse . . . and then . . . the thing is done. They may never 
have had another such impulse in their lives. Might never 
again . . . and yet, for the brief lack of that control . . ." 

THE president of Superior Films shuddered audibly. 
"No . . . no. That I do not think, I, myself, have never 
felt like murdering anybody. . . ." 

"Think carefully. Back in those difficult days when you 
were climbing up from the gutter ... oh yes, I know your 
history . . . when life seemed a-hard and bitter struggle . . . 
when other humans with money and power seemed cold and 
selfish beasts . . ." 

" Veil, mebbe a couple of times there was low-lifers I vished 
vould die," admitted Rosenthal naively. 

Smith smiled, ".^ndif you had had those 'low-lifers' at your 
mercy, at a time when you resented their power, their e.xistence, 
most . . . what then? My theory is not improbable. Meiiand 
women, as they exist today, are but the sum total of the genies 
of their ancestors, plus the variations and inhibitions which 
civilization has instilled in them! Take away the inhibitions. 
Man killed in the beginning, and the only code he had was 
whether it was right or wrong to himself! Today we are living 
under mass determinations of right and wrong, which have 
laid down a code barring killings, except as safeguard for the 
masses. Yet, today as in the leopard skin days, man thinks 
. . . and acts . . . individually! Instinctively, he is a killer! 
He may go through life without being aware of it. He may not. 
He may be aware of it, and draw away in horror from the idea. 
That is because of his culture, up through the ages! 



^^YUWOR F/tjv^^ 



DAILY ^'J* ""'S DAILY 

TIME REPORT STUDIOS TIME REPORT 




The tell-tale studio time sheet of the murder 

night. This plays an important part in solving 

the puzzling murder mystery 

"I have studied human nature . . . especially that human 
nature which has yielded to the killing impulse . . . and I am 
convinced that all humanity contains in itself the impulse to 
take life, should occasion arise that makes it necessary. Wars 
prove that. Murders prove that humanity contains this im- 
pulse, also, when occasions arise that create the killing thought, 
even when it is not necessary." 

Rosenthal shivered, and shrugged his shoulders as if to shake 
off the unpleasant philosophy. 

" Veil, you haff had more experience in that line than my- 
self, certainly . . . but I am very glad, Mr. Smith, that I do 
not believe such things! It vould make me very miserable. I 
should look at efferbody like they vas already murderers!" 

Smith smiled, and said, 

" Well, maybe it's a good thing a lot of us who have decided 
ideas about things, don't go around preaching them ... or 
thinking of them all the time! I assure you I do not go around 
looking at people as though they were murderers! Only . . . when 
I'm on a case like this . . . and . . ."he pulled out his watch, 
"Clancy ought to be along pretty soon with your watchman." 

Rosenthal did not answer. Smith reached over and took a 
cigar, and for a little while each man sat with his own thoughts. 

There was a knock on the door, and Smith opened it to admit 
Clancy, propelling before him a [ continued on p.\ge 90 ] 



Rules for Studio Murder Mystery Solutions 

1. Nineteen prizes, totalling $3,000, are offered for They must be typewritten on one side of a sheet of paper 
the best solutions to the thrilling serial, "The Studio and contestant's name and address must be typed on 
Murder Mvsterv. " This story will appear in Photoplay the upper left hand corner. 

in eight installments. Thefirsiinstallment appeared in the 4 ^he nineteen prizes wiU be awarded as follows: 

October, 1928, issue and the concludmg mstallment will Fir-t Prize $1 000 

appear in the May, 1929, issue. After the appearance Second Prize SOO 

of the March, 1929, number, on February 15th, 1929, Third nrize 350 

solutions to the mystery may be submitted but not Fourth nrize 150 

before that date. All solutions must be received by Five orizes of $100 SOO 

Photoplay before midnight of March 10th, 1929, to re- -p^j^ prizes of $50 500 

ceive consideration. The final installments of "The Studio 

Murder Mystery," printed in the April, 1929, and May, In the event that two or more contestants tie for 

1929, issues, will solve the mystery. The full list of any award, duplicate prizes will go to each contestant. 

winners will be announced as soon after the close of the 5 ^11 solutions must be addressed to The Studio 

contest as possible. Murder Mystery Editor, Photoplay, 221 West 57th 

2. .Awards will be made according to the accuracy of Street, New York, N. Y. 

contestants in foretelling the real solution to "The Studio 5 ^^ solutions will be returned to contestants. No 

Murder Mystery as worked out by the authors, the inquiries regarding this contest will be answered. Failure 

Edingtons. Literary merit will not count. The awards j^ f^iflu g^g^v rule will invalidate your solution. The 

will be made wholly upon the detective ability of con- contest is open to evervone except employees of Photo- 

testants in working out the mystery, e.xplaimng how the p^^v and members of their families. It is not necessary 

crime was committed, giving the reasons and naming j^ ^^ .^ subscriber or even a purchaser of a single copy 

the real murderer. ^f Photoplay. You can consult copies in public 

3. Solutions must be written in 200 words or less. libraries, if you wish. 



JO 



Here Are Winners 



The Prize Winners 

First Prize $1,500 — Ruby Album 
Margaret Myers 

II718 Browning Ave., Cleveland, Ohio 

Second Prize $1,000 — "Starlit" Wedding 

Mrs. a. Lauritzen 

1236 Churchill Ave., St. Paul, Minn. 

Third Prize $500 — Gilded Fan 
Bernard Finkelstein 

1491 St. Johns Place, Brooklyn, N. Y. 

Fourth Prize $250 — Stage 

Mrs. J. Howard Greene 
Cherrywood Apts., 2315 Alice St., Dallas, Texas 

Fifth Prize $125 — Train 
Mrs. J. A. Reisser 

633 Keel Ave., Memphis, Tenn. 
[additional prize \vinners on pace 78 ] 



ALL the returns are in and the judges have made their 
decisions in Photoplay's Fifth Cut Picture Puzzle 
Contest. Simultaneously with the appearance of this 
issue of Photoplay on the newsstands, the five capital and the 
forty-five lesser awards are placed by Uncle Sam's mail carriers 
in the hands of the winners. 

Previous to this published announcement, only the "Big 
Five" had any inkling that their solutions were being con- 
sidered. This advance information could not be kept from 
them, if their photographs and letters were to be received in 
Photoplay's editorial offices and printed in the same issue 
with this announcement. But in no instance did any one of 
the five have the slightest clue as to what rank his or her entry 
would take. So that they, too, have shared in the suspense 
as well as the prize money with the other lucky forty-five. 
When at midnight, September twentieth, the gong sounded, 
closing the entries, the work of the judges began. Every entry 
was carefully opened, examined and tabulated. The number of 



Fifty cash prizes 

awarded for cut 

puzzle solutions 



correct solutions ran into the hundreds, thus intensifying the 
labor of the judges. The manner in which the solutions were 
presented was so varied and so ingenious as to call for the 
most minute comparisons and the most careful consideration. 

THE preliminary preparations required even more time, since, 
among the thousands of entries made, the incorrect ones had 
first to be sifted from the others. This task was particularly 
unwelcome to the judges, inasmuch as often a splendidly 
presented solution had regretfully to be set aside because of 
one or more errors. 

Among the commoner errors was that of dropping the "e" in 
spelling Adolphe Menjou's first name. Another error, though 
perhaps not occurring as often as in some of the contests in 
previous years, was the placing of hair on the wrong head. 
The male were oftener guilty of this than the feminine en- 
trants, apparently indicating that hair has more significance 
to a woman than it has to a man. 

That Photoplay's annual Cut Picture Puzzle Contest is 
regarded somewhat in the light of a classic by its readers is 
evidenced from the fact that many who fail to capture a prize 
one year come back the next with renewed enthusiasm and 
determination. And in a number of instances it is a matter 
of gratification to note that ultimate success has crowned this 
persistent effort and self-confidence. 

Certainly the vast majority of contestants — whether new- 
comers or veterans — made a very sincere bid for success, if 
imagination and cleverness in working up a novel plan of pres- 
entation and painstaking care in executing it are criteria. The 
grouping of the solutions in the several special rooms that had 
to be set aside to house them was comparable to an exhibit or 
bazaar, international in scope, for not only was every section of 




"•*iiiS 




The solution of Margaret Myers, a 
hand made Ruby Album shown open, 
and closed, won for her the first prize 
of $1,500 



iO 



I 



of $5,000 Contest 




Mrs. A. Lauritzen, winner of second 
prize, $1,000, with her "Starlit" 
Wedding and the correct pictures 
on the lanterns around the garden 



Ihis country represented, but 
Canada, Mexico and even far- 
away Australia were not back- 
ward in entering their cham- 
pion puzzle solvers. Indeed, with the exception of Asia, not a 
continent failed of representation. 

Our own Pacific Coast, though relatively closer to Hollywood 
than the rest of the country, was not so well represented as one 
might think. The Mid-Westerners were heavy contenders, as 
were noticeably some of the Southern States, particularly 
Texas. But sweeping the country from north to south and 
from east to west, not a single state was found that was not 
without a really creditable quota. As one of Photoplay's 
readers wrote, in submitting her entry: "This is not just 
another one of those contests; it's a national institution." 

EVERY possible type of presentation seems to have been 
entered. The world of the motion picture and the theater; of 
business and of invention; of adventure and of play; the new 
and the old; the prosaic and the romantic; the bizarre and the 
commonplace — jostled each other. Here a dance pavilion, 
with the faces of the stars in the Contest gazing upon the scene 
from the walls, there a Spanish galleon; Charlie Chaplin dances 
with a fair charmer; the stars gaze upon you from chess and 
checker boards, from packs of cards, from footballs, from 
baskets of flowers, from automobiles, trains, steamships, wind- 
mills, from books, fans, crazy quilts and cushions; they dangle 




The beautiful Gilded Fan, the 

work of Bernard Finkelstein, won 

for him the third prize of $500 



from the neck of a great toad 
made of green silk; they peer 
at you from chests of drawers; 
they ride in chariots. They 
represent characters and events as thrilling, as romantic, as 
lovable, as fascinating, as the world of the motion picture. 

Here in tabloid we catch a glimpse of the vast realm of the 
screen. We begin to understand something of what it has done 
for the ideals, the emotions, the lives of us all. And all this 
packed away in the scanty quarters of three rooms! 

The first prize — Si, 500 — is awarded to iSliss Margaret Myers 
of 11718 Browning Ave., Cleveland, Ohio, for her Ruby Album. 

She writes: "My solution under consideration for a prize! 
What news could be better to 'pep' me up just now, while 
convalescing from an illness? 

"It seems as if I have always been a movie fan — as long as I 
can remember. Following up all the news, pictures and chats 
about my favorites of the screen, I have come to depend on 
Photoplay to keep me well informed. The announcement of 
the Cut Picture Puzzle Contest in the June issue proved too 
tempting to resist. 

"My time is rather limited because I work in an ofSce all 



The Thirty-Two Correct Cut-Puzzle Answers 



June 

Sally Rand 
Alice White 
Alice Joyce 
Louise Brooks 
George O'Brien 
Neil Hamilton 
Ralph Forbes 
Harry Crocker 



July 

Charles Rogers 
Raoul Walsh 
James Murray 
Ramon Novarro 
Sue Carol 
Madge Bellamy 
Nancy Phillips 
Lois Moran 



August 

Marceline Day 
Laura La Plante 
Phyllis Haver 
Ruth Taylor 
Gary Cooper 
Adolphe Menjou 
William Powell 
Don Alvarado 



September 

Dolores Costello 
Greta Garbo 
Aileen Pringle 
Estelle Taylor 
Rod La Rocque 
Harold Lloyd 
Ben Lyon 
Antonio Moreno 

41 



Photoplay's Fifth Cut Picture Awards 



.^oc^isEUKoo^^ %^«-^^ K^^o ^vv'-'- 'JOVc, ^,^vV'iro(,t,^^ 



HARR\ CROCItK GEORGE OBRIIIN \IICI w ti I T t NHL HAHILTOUt 




v.O»- '■''^ftTv 



^>iO ^H.i.t,p^^ 



CI'AFLE> F06ERS. n.\MON NOVARRO J \ ^lE S M t RS? ^\ FAOUL WALSH 




OAHY COOPER PHVLLfSHftVEfi WtLl lAM POWElt DON AtVAR^OO 




This elaborate thirty- 
two compartment 
stage, one for each 
star in the contest, is 
the work of Mrs. J. 
Howard Greene, and 
was awarded the 
fourth prize, $250 




day, besides managing our home for dad, brothers and sister. 
So I decided to use my vacation in making an old gold volume 
of French design taken from the Fifteenth Century." 

In reply to a telegram from Photoplay, in which she was 
asked what she would do in case she won one of the principal 
prizes, ]\Iiss Mj'ers said: "I would like to send my sister 
through college. 

"To be able to travel, visit places I've read about and want so 
much to see. To continue studying music. 

"To be able to do, oh, a thousand and one things in a future 
as golden as my book, with days as shining as its pages — if I 
should be one of the fortunate ones!" 

THE second prize — .§1,000 — goes to Mrs. A. Lauritzen, 
1236 Churchill, St. Paul, Minnesota, for her solution pre- 
sented as "A Wedding in a Starlit Garden." 

She says: " Various contests conducted by Photoplay have 
aroused my interest, but not until this latest one did I decide to 
submit an entry. 

" I was thinking of the various possibilities for settings for 
these screen faces when suddenly the idea of my 'Starlit 
Garden' flashed through my mind. Ever since I can remember 
I have loved to sew, dressing dolls being my specialty, andsince 
my husband is a florist, it was only natural that I should make 



a setting which would involve both a knowledge 
of gardening and the knowledge of making and 
dressing dolls. 

" If I should be one of the prize winners, I know 
exactly for what I shall use the prize money. 
My lifelong ambition has been to have a 
children's ready to wear shop combined with a 
doll shop." 

And this from Mr. Bernard Finkelstein, 1491 
St. Johns Place, Brooklyn, New York, winner 
of the third prize — S500 — for his Gilded Fan: 

" On picking up the July issue of Photoplay I 
noticed the prizes offered for the solution of the 
Cut Picture Puzzle and decided to enter the Con- 
test and when I did, I certainly acquired a great 
deal of knowledge regarding the personalities of 
the screen stars, and I spent many hours at this 
task after a hard day's work during the sizzling 
hot days of last summer, cutting, matching and 
assembling the different faces. 

"My son, who is now attending high school, 
will soon have to enter college, and the prize money would be a 
great help in that direction. Also, I have a daughter, who is 
five and wants to take dancing lessons, because she wants to 
play in the movies. The prize money might go a long way 
toward helping achieve this goal." 

THE winner of the fourth prize — S2S0 — is Mrs. J. Howard 
Greene of the Cherrywood Apts., 2315 Alice Street, Dal- 
las, Te.xas. She presented her solution in the form of a set of 
theatrical stages. She writes: "I have eagerly watched 
Photoplay's Contest every year with longing and it was only 
this year that I could muster the courage to try an entry. 

"If I happen to be one of the fortunate 'Big Five' group, 
I shall use the prize money to advance my study of art, which 
I began in schoo' but have never continued although I have 
always wished to. If I am real fortunate I will study interior 
decorating and later open up a little art shop all my own." 

Mrs. J. A. Reisser of 633 Keel Ave., Memphis, Tenn., takes 
the fifth prize— $125— for the "Starland Limited." 

Here is her letter: "Being a movie fan, I naturally buy 
Photoplay each month and knowing quite a few of the stars I 
became interested in the contest. 

"To say what I would do with the money is impossible, not 
knowing which prize I might be [ continued on page 78 ] 



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Here are the stars in the Cut-Puzzle Contest riding in a train. This novel solution was submitted by Mrs. 

J. A. Reisser, and was awarded fifth prize, $125 



45 




Ruth Hairiet Louise 



(TT^^HY girls want to go into the movies — just to wear gowns like 
yy this. Carmel Myers swishes around in this creation of taffeta and 
tulle in "Dream of Love," a picture originally called "Adrienne 
Lecouvreur." Miss Myers plays a French countess who gets all mixed 
up in one of those glamorous Balkan romances. And, in "Dream of 
Love," Joan Crawford and Nils Asther will again share the same 
close-ups. 



h3 






r 



The picture 
ended in a ques- 
tion mark. But 
those in the 
studio knew 
what happened 
behind that 
closed door 



Th 



e 





TARS that Never 



You remember him, don't you? A rare member of that 
curious, exhilarating, pathetic group — the stars that 
never were! You remember him surely— the old China- 
man who sat so silently in the doorway of the joss 
house — in the very last episode of "Other Gods"? That episode 
in which the Oriental star, discredited, slinks down the silent, 
slum street and enters the joss house — and vanishes. 

You remember how the old Chinaman raises his head — and 
stares, inscrutably, into the passing star's face? And then at 
the very last, with only a few feet more to run — how he rises 
suddenly and stiffly. And whips out a narrow knife, from in- 
side of his ragged garments. And follows the star into the 
joss house? 

And how — at that moment — the film breaks? 

The critics called the unanswered question of that ending a 



bit of sheer art. They applauded the strange fatalitv of the 
old Chinaman's last gesture. "A daring finale," they said-— 
and asked, loudly, to see the shabby, bowed figure in other 
pictures. But they never saw him again. Never. 

Neither, for that matter, did they ever see again the man who 
was the star of "Other Gods." 

For the daring finale — // was not writlen into tlic script! 
It just happened. . . . 

THE star had come up out of the darkness of Chinatown. 
He admitted that, affably, when the special writers ques- 
tioned him. Furthermore — he admitted this, also, in his care- 
ful, slightly lisping English — he had not bought a home in 
Beverly Hills, nor a house in Los Angeles. He still lived in 
Chinatown. And — 




Were 



"My life upon the screen?" he said, very charmingly. "It 
belongs, wholly, to the public. But my life, among my people, 
is my own. . . ." And, saying this, the dark curtain of his 
race's inscrutability shut down over his eyes. And the special 
writers were forced to be content. For that matter the special 
writers rather liked his reticence — although it defeated their 
purpose, it was a rare motion picture quality! And even 
the public did not object, too vehemently, to the mystery that 
shrouded one of the Orient. In fact, they rather enjoyed it. 

FOR the public had, forgetting race prejudice and religious 
intolerance, taken the star, who was yellow, to their hearts. 
, They had accepted him, and given him the boon of their favor. 
And the public, than this, can go no farther! 

And so, in "Other Gods," the producers had planned a 



lllustratea by 

Everett Shinn 



"You talk," said the 
director, "as if you're 
in love with him. 
Well, it's not healthy 
for a girl like you to get 
crazy about a fellow 
like him. Even if he 
wasn't Chinese, there 
is nobody in Holly- 
wood that knows a 
thing about him." 
"If I am crazy about 
him," answered the 
blonde star slowly, 
"it's my own busi- 
ness" 



super spectacle. Which — 
because in fiction stories 
inter-racial alliances are 
de trap — must end on a 
note of wistfulness. 

You remember the pic- 
ture? But of course you 
do. How the young 
Chinese boy, rising from 
the gutter, brings his 
great talent as an artist 
into society. And is ac- 
cepted. And is revered. 
And how, involved in a 
tong war, and a world 
war, and a romance, he 
allows himself to be, at 
last, beaten. Rather than 
to make the golden haired 
heroine of the screen un- 
happy. Rather than in- 
volve her in an unpleasant 
chain of circumstance. He 
is the one — not she — who 
breaks their engagement. 
Do you remember his 
stark, lonely face, in the 
final love scene? He is 
the one who goes stum- 
bling down a Chinese 
street, past shuffling, in- 
curious, black sateen 
coated figures. He is the 
one who reverts to type, 
even in his own shuffling 
walk, as he enters the joss 
house — passing so close to 
an aged, stupid-eyed 

Chinaman that their garments touch! 

He it is that the aged Chinaman suddenly follows — with a 

knife in his hand! 

WHEN they were casting for the street crowd — for the joss 
house set was a built one, in the studio — the old Chinaman 

presented himself. With a mumbled word, in pidgeon English, 

at the director's window. 

"Me — " he said, "I good — actor!" 

The casting director recognized a type. And — 

"Sure you are, big boy!" he agreed, affably, and gave the old 

man a magic slip of paper — the magic slip which, to the stars 

that never were, spells open sesame. 

And so the old Chinaman entered the studio — and stumbled 

past the wardrobe room, and blinked [continued on page 121 ] 

45 



By Margaret E. 
Sangster 




Eleanor Boardman used to wear her hair long 
and straight. It was different and conservative 
— but not becoming. Now Eleanor has one 
of those new shoulder-length bobs, curled off 
the face and ears. This picture proves that a 
good coiffure makes a pretty girl prettier 



The HoUywoodcn Santa Clans 
Distributes presents without pause. 
A gallon here, a gallon there, 
His Klaxon snorting on the air. 
And kiddies hear, as midnight tolls, 
The busy humming of his Rolls. 

JOAN CRAWFORD'S new home in Brentwood Park has 
been christened "El Jodo," a contraction of Joan and 
Dodo, the pet name of Doug Fairbanks Jr. 

Joan has changed considerably since her engagement, 
or some say marriage, to Doug. The gay, dancing feet are 
still and Joan is cooking and sewing — yes, actually — and 
managing her home in an economical manner. The other 
day a linen salesman called at the house with his wares. 

"This," he said, "is a beautiful tablecloth, exactly like 
one I sold to Mrs. So and So. The price is $175." 

"Out of my class," said Joan, "absolutely out of my 
class. Show me one for $40 and sell the others to Mrs. So and 
So." 

A year and a half ago Joan would have bought six of the ex- 
pensive linens without the faintest notion of how she could pay 
for them. 

TAT'HILE Ramon Novarro was abroad, he visited two 
of his sisters in the Canary Islands who are now nuns. 
One of them was caring for an insane woman. Ramon and 
his sister sat on a bench in the arbor. The patient came 
and peeped through, callmg to the nun : 

"Sister, you gave up this brother and all your family to 
come here, didn't you?" 

"Yes," Sister replied. 

"Then it is you who are crazy and not I." 

IT is rumored that two hearts have been caught on the re- 
bound. The return of Eddie Sutherland to the Paramount 
fold to wield the megaphone in the next Bebe Daniels picture 

A6 




By Cal York 




I-ita Grey Chap- 
lin and her 
stage-door 
Johnny, Mr. 
Roy D'Arcy. In 
spite of a heavy 
settlement from 
Charlie, Lita 
has gone on a 
vaudeville tour. 
It costs money 
to build a big 
house in Bever- 
ly Hills. Roy is 
waiting for one 
of those leisure- 
ly California 
divorce decrees, 
to ask Lita to 
become the 
second Mrs. 
D'Arcy 



International Nt;wsrt;cl 



is not entirely a business arrangement. Bebe, whose engage- 
ment to Jack Pickford seems at an end, and Eddie, who 
recently received his divorce from Louise Brooks, have been 
seen frequently together and the wise ones say that Eddie may 
assume more definite directorial duties in a matrimonial way. 

NILS ASTHER wins the Swedish herring for being Holly- 
wood's most perfect host. 

The other evening he entertained a group of friends in his 
new hillside home. A merry fire crackled on the hearth, the 
friendly smell of cigarettes filled the room and good talk flowed 
freely along with the coffee. 

Finally, one of us remarked: 

"Now if one could only hear the sound of rain against the 
windows everything would be perfect." 

Nils excused himself and returned a moment later. Suddenly 
the windows shook with the sound of water. 

He had instructed his house boy to stand in the garden and 
turn the hose against the side of the house! 



of All 

J the 




tudios 



Oh her toes for 
a back flip. 
Esther Ralston's 
swimming pool 
is more than a 
mere ornament 
in the yard 
of her home. 
When Esther 
puts on a bath- 
ing suit, she 
really swims. 
Incidentally, 
while more 
temperamental 
stars flash in — 
and out. Miss 
Ralston has just 
signed a nice, 
new contract to 
star in Para- 
mount pictures 





.j^m? 



TOM MIX will not allow his wife to get a Paris divorce. Not 
that he objects to a divorce, so far as we can learn, but 
merely that he thinks American courts are able to handle any of 
his atfairs that need legal adjustment. He politely returned 
unanswered the questionnaire sent him from the French city. 
Incidentally, maybe Tom is wiser than he appears. The 
Paris divorce would permit him to marry at once. Likely he is 
insuring protection against himself in a weak moment, for under 
a California divorce he cannot possibly be married under twelve 
months. 

I cannot talk, I cannot sing, 
Nor screech, nor moan, nor anything. 
Possessing all these fatal strictures. 
What chance have I in motion pictures? 

GRETA GARBO to sail for Sweden, willioul signing a new 
contract with Metro-Goldwyn-Mayer. And she lets it be 
well understood that she doesn't know whether she is coming 



• i- 





Cinderella and her lucky slippers. These bat- 
tered pumps were worn by Janet Gaynor in 
"7th Heaven." And they are Janet's most 
treasured possession. She makes a point of 
wearing them, if only for a few minutes, in 
every one of her pictures — just for luck 



back or not, and that she doesn't care whether she ever 
makes another movie. 

From some of the stars, this would be written off as plain 
bluflf. 

But Greta is such a strange soul that there is an awful 
chance that she might mean it. 

Greta cares nothing for money; the lady lives in Spar- 
tan simplicity. 

Fame hasn't made her particularly happy. 

AS for John Gilbert, he has signed with United Artists. 
Just how things stand between John and Greta, 
nobody knows. When John was in New York, he met 
Dorothy Parker, one of the wittiest and most attractive 
of lit'ry gals. 

And shortly after John departed from the coast, Mrs. 
Parker signed up to write dialogue for M.-G.-M. Just 
a lot of gossip, but there you are! 

T OU SEILER, who is directing "The Ghost Talks," 
"^a Fox talkie, was talking to a "culud gent" who had 
been called for a test. 

(By the way, if you've heard this one, stop me. Lou 
swears, however, it's the gospel truth.) 

"How are you on lines?" Lou asked. 

The colored boy looked at him with widening eyes 
before answering. 

"Boss," said he, "I ain't a-goin' to be in this picture 
if there's lions in it." 



WE are beginning to understand why Jack Gilbert could 
nonchalantly decline an offer of half a million dollars a 
year, now that we know about the money he has made on the 
side. 

Heretofore Jack's business adviser has never permitted him 
to invest in stocks or bonds, but recently the rule was broken 
and Jack was permitted to buy a nice slice of Montgomery 




Horrible effect of the talkies on a dog's life. 
John Loder's pup, Tangy, had a way of follow- 
ing his master on the set. When Loder went 
into the talkies, Tangy broke up several scenes 
with his barks. This invention silences all 
growls. It doesn't work on supervisors 




Ward stock with the result that he cleaned up several hundred 
thousand dollars. 

WHAT are the movie stars to do, now that producers are 
engaging the girls and boys from the stage to play in the 
talkies? Well, the movie stars are getting right back at them 
by going on the stage. Some of the stars are trying vaude- 
ville, where the salaries are large but there isn't much glory. 
Others are venturing into the little theater companies in Los 
Angeles, where there isn't much money but lots of chance for 
artistic reclame. 

BROADW.W— that's a street in New York— is hard on 
movie stars. The dramatic critics on the local newspapers 
polish up the axe and lay in wait for them. The only movie 
star to get kind words from the old grouches is Dorothy Gish. 
Dorothy is playing with her husband, James Rennie, in a piece 
called "Young Love." It isn't so much of a play but it has 
established Dorothy as a stage comedienne. The girl is really 
good. 

"'W'OUNG LOVE" is not the lily-white play you might expect 
i from a Gish. In fact, Dorothy has some lines that are a 
little "What Price Glory." This disquieting news must have 
reached Lillian in Austria, because on opening night she sent 
Dorothy the following cablegram: "No matter what you do, 
remember your family still loves you." 

However, Dorothy is sitting pretty. She has been studying 
voice culture for two years and has developed a splendid 
speaking voice. And so she is all set for the talkies. "Either 
that," says Dorothy, "or announcing trains." 

'T^HE other day the Jap gardener was weeding the flower 
beds next to the offices of the writers in the movietone 
section of the Fox Studio. Eugene Walters, the play- 
wright, who has gone movie, watched him for a time and 
then remarked laconically, "Better watch out, Hashamaru, 
you'll weed out a couple of writers if you aren't careful." 

EVA VON BERNE has returned to Vienna. There was no 
blaze of glory to mark her departure. She was sent back 
beca"use she would not be a success in the talkies! She couldn't 
learn perfect English in two months. 



This mechanical age hands another wallop 
to art. It takes no long hours of practice 
to learn to play the Rolmica. You simply 
insert a roll, turn the crank and blow — as 
demonstrated by Blanche Le Clair 



She will, no doubt, have a chance to work at UFA abroad 
but that does not alleviate the hurt she feels at going back. 
The episode was as tragic as it was avoidable. Irving 
Thalberg and his bride. Norma Shearer, have received 
thousands of dollars' worth of publicity from the Viennese 
"discovery." 

This is in sharp contrast with a discovery that Harry Rapf 
brought over, one Mona Martenson, who was given no pub- 
licity at all and who, therefore, went back without a heart- 
break. 

CLOTHES that make a noise with their beads and bangles 
are barred from talkie stages. 

A ringing bell sounds like a fire alarm. All bells must be 
muffled in the talkies. 

Special heavy cardboard is put in the panel of the doors 
on the set when a knock is supposed to sound. 

One of the few noises that records perfectly is the scratching 
of a pen. 

In "Sal of Singapore" one of the most interesting sounds 
is the beating of a baby's heart. 

How doth the little clarabow 
Improve each shining hour? 
By turning Brooklyn's buttercup 
Into a passion flower. 

THE difficulty about Tui Lorraine's passport has been 
cleared up. Tui's only claim to fame is that she is Clara 
Bow's stepmother, having but recently married Clara's 
father. When the marriage was announced immigration 
officials found that the gal had entered the country illegally 
from New Zealand. 

But the difficulty is solved when she goes to Mexicalli and 
returns under her status as an American citizen, which she 
acquired by marriage. 





Clara Bow's birthday present from her boss, 
the Paramount Studio. Clara couldn't get 
the picture in her dressing room, so she gave 
it to her dad. And Papa Bow is now looking 
for a house with rooms as big as those sets in 
a society drama to accommodate it 



With just ten minutes between appoint- 
ments, Billie Dove eats a taxi luncheon. 
It's a good trick but only recommended to 
those who live in communities with bump- 
less, skidless roads. Driver, go slow! 



MAYBE the reason that all the gals in Hollywood are mad 
over Gary Cooper is because he is so very mysterious. 
Everybody wonders who is the little blonde nonprofessional 
seen with Gary at all those quiet little restaurants and tea places. 

JIMMY MURRAY stole a march— a wedding march at that 
— on the film colony and married a little extra girl named 
Lucille McName. For five weeks the marriage was kept secret. 
It occurred, strangely enough, just after Jimmy found himself 
without a contract at M.-G.-M. Are they just an old-fashioned 
couple who believe that two can live as cheaply as one? 

I met her on the palace set. 

Her eyes with glycerine were wet. 

I seized her hands, John Gilbert-fashion, 

And Vitaphoned my deathless passion — 

And when she whispered "Yes!" (the sweet!) 

I kissed her for 5,000 feet. 

ME, oh my! It fairly puts one all out of breath keeping 
up with the affairs of some of these HoUyvvooders. Now 
there's Merna Kennedy and James Hall who, according to the 
newspapers, are supposed to be disengaged. But somebody 
who knows them told me all this paper talk is camouflage. 
They are scheduled to be married in about three months, so 
my informant says, and it will be very, very secret. 

We understand also that Merna and Mamma Kennedy are 
not getting on and that Jimmy is the bone of contention, but 
the funniest one of all is this: 

MERNA and Mrs. Kennedy, and Lita Grey Chaplin and 
Mrs. Grey all live in the same apartment house but neither 
couple knows that the other is there! What a problem the 
landlady must have keeping this tragic information from the 
various mothers and daughters. You remember it was Lita 
who introduced Merna to Charlie. 



It is interesting to note, too, that Roy D'Arcy also has an 
apartment in the same house. At present Lita is on a vaude- 
viDe tour and there are rumors of strife in the Grey household. 
It seems that mother and daughter have had words concerning 
one Mr. D'Arcy. 

By the way, the two little Chaplin kids are too cute for 
words — growing into right sturdy youngsters. 

"D OLAND DREW may be called upon to sing French 
folk songs when he plays opposite Dolores Del Rio in 
"Evangeline." 

The other day he asked a friend, who was anxious 
for a role in the new picture, "Do you speak French?" 

Said the friend, "Just in the long shots, my boy, just 
in the long shots." 

MARION DAVIES is back in Hollywood, after seeing all 
Europe had to offer. She received the decoration of 
Academic Palms in France and Pour Le Merite in Spain, but 
Hollywood would not be outdone in its welcome. 

The first night after Marion's arrival, she was given a 
surprise party at the Ambassador hotel that is rarely surpassed. 
The joint hosts and hostesses were Charlie Chaplin, Bebe 
Daniels, Joe Schenck, Mr. and Mrs. Sam Goldwyn, Mr. and 
Mrs. Robert Leonard, Harry Crocker, Louella Parsons, 
George K. Arthur, Harry d'.\rrast, and Matt Moore. About 
two hundred guests were present. 

ROD L.\ ROCQUE has announced his intention of retiring 
from the screen. Some folks tell me this may be a case of 
"sour grapes," but Rod's tale is much to the contrary. He 
announces that pictures bore him because of inartistic stories 
and needless excitement over small details. 

Producers seem to feel, however, that Rod has put too 
high a value on his services. M.-G.-M. once asked him to 
bring his make-up kit to their lot, but the officials thought 
SI, 500 a week was about enough in the way of stipend. Rod, 
having been paid $3,500 a week as a star by Pathe, naturally 
didn't cheer over the M.-G.-M. offer. 

With other producers feeling much the same way about the 
La Rocque popularity, it is not astonishing to hear that Rod 
plans to retire. He will not need to stand in the bread line, 
however, as the stock market has [ continued on page 80 | 



49 





Jonesy's dream comes true 

and Diane of "7th Heaven" 

becomes a film immortal 



Janet Gaynor at the age of 
twelve. The World War was 
then in progress. About this 
time Janet gained local fame 
as an elocutionist, acquired 
reciting to sailorsat the Great 
Lakes Naval Training Station, 
near Chicago 



Harry Jones, 
Janet 's step- 
father. "Jonesy" 
saw Janet always 
as a potential 
screen star. He 
lived to watch the 
glory of the open- 
ing night of "7th 
Heaven," when 
his Janet stepped 
to fame from 
among the 
screen's un- 
knowns 




Simply and directly, Janet Gaynor told last month of her early 
life. She was horn in Gcrmantown, Philadelphia, October 6, 1906. 
At eight her father and mother separated. There was a divorce. 
This was the first tragedy of her life. With her mother and sister, 
Helen, Janet moved to Chicago. Janet spent her winters in Florida 
with her aunt. These were war days. Janet and her sister gave 
recitations to sailors at the Great Lakes Naval Training Station, 
north of Chicago. Janet began to gain a little local fame as an 
embryonic actress. 

Then "Jonesy" entered the life of the Gaynors. He was Harry 
Jones, a mining promoter from the West. Jones was married to 
Mrs. Gaynor. 

Janet's step-father was destined to play an important role in 
the future star's career. 

m 



Janet Gaynor and George O'Brien in "The Johns- 
town Flood." This was Janet's first dramatic role. 
She gave up a regular S50-a-week salary at Universal 
to take it. It was a venture. "I shall never forget 
how hard I tried," she says. "I was giving all I 
could to succeed" 



THOSE days under Jonesy's protecting heart are very 
sweet and fresh in my mind. Here, at last, were three 
lone women gathered into the warmth of a good man's 
embrace. Jonesy with his maps, with his dreams of 
wealth when this mine or that yielded its treasure. And they 
never seemed to. His room was stacked high with prospector's 
tools, with gauges, with blue-prints, with books on ore. His 
dreams of a generous earth sharing her riches with him never 
materialized. He lived in a tomorrow bright with promise. 

I should not say they never materialized. One dream did. 
His blessed persistent dream that some day I should be an 
actress. "Oh, Jonesy, you silly! Don't be absurd. I'll never 
be an actress. One must be very beautiful to be an actress. 
Now look at Helen, she is beautiful. She should be an actress. 
Anyway, I'd rather be a teacher — or a lawj'er." 

And so I entered Poli-Technic in San Francisco to finish my 
high school training. 

The first summer I was there I decided it would be well for me 
to work. I might as well be self-supporting. Poor little me, 
bashful, shy, I went out one morning with a chum to get em- 
ployment. She had a list of three places to which she was to 
apply. The first place was the one she took, without looking at 
the other two vacancies. I was to see if I couldn't land one of 
the other jobs. "You do this, Lolly, and do that," she in- 



So Far 



as told to 

Dorothy Spensley 

by 

Janet Gaynor 

structed. "Don't be shy. They won't 
bite you." 

My first call was at Frank Mores' Shoe 
Shop on Geary Street. I was offered 
eighteen dollars a week, to start, for ofTice 
work. It was three dollars more than my 
friend had accepted, so I took it imme- 
diately. For three months I worked at 
Mores'. I thought I was terribly clever. 
And perhaps I was. I checked salary lists 
and finally made up the payroll. I de- 
posited company money in the bank. It's 
a wonder someone didn't knock me down 
and step off with the money. It would not have been difficult. 

Sometimes, during a rush period or at lunch, I would enter 
the cashier's cage and take charge of things. I felt very im- 





m 



Most of Janet Gaynor's 
first screen work was 
done at the Hal Roach 
comedy studio. This 
was due to the kindly 
interest of Molly 
Thompson of the Roach 
staff. Janet says the 
superiority of the other 
girls simply floored her. 
felt so immature — 
they were most 
superior" 



Janet Gaynor and her mother. Mrs. Gaynor's 
marriage to Harry Jones shaped little Janet's career, 
for it was "Jonesy's" faith in his step-daughter 
that led her to stardom. Jones lived just long 
enough to see his hopes realized 

portant. They raised my salary to twenty dollars a week. I 
felt even more important. I\Iy self-confidence increased in pro- 
portion to my success. Soon I was answering the telephone in 
the adjustment department, telling irate customers that their 
shoes would be delivered immediatel>'; telling theatrical stars 
that the satin sandals would surely reach them for the evening 
performance. 

No one ever told me I had nice eyes. That I should be in 
pictures. Only Jonesy, at home, said that. 

SEPTEMBER came and with it school and soon I returned 
to Florida for the winter. It was that year — the family had 
lived in San Francisco for four years — that they decided to move 
to Los Angeles. They took a house in Hollywood where I came 
on my arrival from ifelbourne. 

Of course, Hollywood was a thrill to me. At every turn I 
embraced make-believe land. The stimulating fairy stories of 
my youth were alive in Hollywood. One never knew at what 
corner one might see the glamorous siren of last night's motion 
picture. A gleaming limousine might bear the hero of today's 
romantic drama. 

My life was uneventful, save for those chance contacts. I 
entered the Hollywood Secretarial School, bent on becoming a 
stenographer. Helen was already a tremendously capable one, 
commanding a nice salary. After a week or two of study I gave 
it up. It was too humdrum. But Helen had discovered a new 
occupation. She had discovered that the casting oflices of the 
studios were open to her. It was before the Hays organization 
had formed the Central casting office. Casting was done by the 
individual studios. 

One day I went along with her when she had a call from the 
Hal Roach Studio. She put my greasepaint on, covered the tan 
freckles, rouged my lips, darkened my brows. I was tremen- 
dously thrilled, and eciually as embarrassed. 

After that I went the rounds of the casting offices myself, 
bashful, timid. I worked most of the time at the Hal Roach 
Studio. I felt the friendly interest [ continued on p.-\ge 94 ] 

51 



THE NATIONAL GUIDE TO MOTION PICTURES 







luH "^ 


1 




i ^ 




'"' 



The 



OUTCAST— First National 

THIS picture is not a million-dollar production, such as 
"The Divine Lady," but is vastly more interesting and 
far better acted. 

This is the third time "Outcast" has been filmed. Ann 
Murdock did it first, to be followed by Elsie Ferguson, who 
had played it behind the footlights. This time the locale has 
been switched from London to San Francisco (possibly to 
save expensive studio-built exteriors), and Director William 
Seiter has kidded virtue quite considerably during its length. 

"Outcast" is the story of a rich young bachelor who 
picks up a girl of the boulevards in order to forget a lost love. 
Then the girl falls in love with him. 

Corinne Griffith makes a lovely Miriam, her best role in a 
Ion? time, and Edmund Lowe is excellent as the wealthy 
bachelor, Geojfrey. 




ROMANCE OF THE UNDERWORLD—Fox 

ADAPTED from the late Paul Armstrong's passably 
popular stage play, this develops into one of the best of 
the underworld avalanche of films. We credit this to 
Irving Cummings' taut direction. 

Briefly, " Romance of the Underworld" is the story of a 
little entertainer in a speakeasy who raises herself to become 
an expert stenographer — and then the bride of her rich 
young employer. She never tells him of her early days, and 
her past comes up to smash her happiness, via an unscru- 
pulous gangster. The girl is saved by a shrewd detective who 
helped her in the old cabaret days. 

Mary Astor is good as the ex-speakeasy charmer, but the 
honors go to Robert Elliott, as the smiling, gum-chewing, 
cool Irish detective. Even in the face of scores of under- 
world pictures, this stands out above par. 



Shadow 
Stage 

(ri:g. u, s. pat. off.) M ^ 

A Review of the New Pictures 




SINS OF THE FATHERS— Paramount 

NOT a "Patriot" or a "Last Command" and, of course, 
not a "Last Laugh" — but an eminently distinguished 
parade of prohibition and its evils. And it provides the 
superb Jannings with great opportunities for the complete 
characterization of another of those mellow German- 
Americans. 

The story is simple, if a little slow of movement. Wilkdm 
Spengler is a waiter, happy in his home life and his Saenger- 
bund. He becomes the owner of one of those old-fashioned 
restaurants with its gilded bar. Prohibition wipes aside his 
small success and, step by step, Spengler is drawn into the 
army of bootleggers. He knows no other way to maintain 
his existence and that of his son. 

Then the son, just back from college, drinks poisoned 
liquor and goes blind. Thus the title. That crushes Spengler 
and sends him to prison, a broken old fellow. 

"Sins of the Fathers" savors just a bit of "The Way of All 
Flesh." There is the same home life, although Spengler is 
not quite the social partner of the bank worker, August 
Schiller. "Sins of the Fathers" hasn't the sharp emotional 
tug of several Jannings characterizations, but it is a care- 
fully conceived and beautifully acted portrayal. 

Ruth Chatterton makes a vivid screen appearance in an 
unsympathetic part and her work is intelligent and forceful. 
She is excellent. Barry Norton gives a fine performance as 
the spoiled son who loses his sieht. 

Be sure to see this film. It is a worthy Jannings eftort, 
which means it would be an extraordinary picture for almost 
anyone else. 



SAVES YOUR PICTURE TIME AND MONEY 



The Best Pictures of the Month 

SINS OF THE FATHERS OUTCAST 

A WOMAN OF AFFAIRS SCARLET SEAS 

RED WINE ON TRIAL 

ROMANCE OF THE UNDERWORLD 

The Best Performances of the Month 

Emil Jannings in "Sins of the Fathers" 

Greta Garbo in "A Woman of Affairs" 

Ruth Chatterton in "Sins of the Fathers" 

Richard Barthelmess in "Scarlet Seas" 

Betty Compson in "Scarlet Seas" 

Conrad Nagel in "Red Wine" 

Robert Elliott in "Romance of the Underworld" 

Casts of all photoplays reviewed will he found on page 124 




A WOMAN OF AFFAIRS— M.-G.-M. 

DESPITE the change of title, despite the Hays ban, 
despite new names for old characters, it is still Michael 
Arlen's "The Green Hat." And it is corking. Clarence 
Brown atones here for his directorial sins in "The Trail of 
'98." 

The story is a study in emotions. A girl sets out to uphold 
the wild reputation of her family because the father of the 
man she loves won't let him marry her. Her life becomes a 
whirl of escapades. Also one tragic marriage. Through it 
all, however, she clings fast to her first love. And the beauty 
of this love story lifts the picture to exalted heights and 
purges it of any possible tang of sordidness. 

As Diana, the self-sacrificing heroine, Greta Garbo gives 
her greatest performance. Jack Gilbert, in spite of an 
eternal dress suit, plays the difficult role of lover with 
dramatic repression. Lewis Stone lends fine British dignity 
as the family friend and Hobart Bosworth makes a splen- 
didly austere English father whose stupid stubbornness 
wrecks Diana's life. Dorothy Sebastian, the hero's wife, 
presents an interpretation brief but classic. John Mack 
Brown as Diana's crooked husband blights his characteriza- 
tion with one over-acted scene. Douglas Fairbanks, Jr., is 
almost too wayward as the wayward son. Miss Garbo's 
interpretation is all the greater because she puts it over 
without a single clinging dress or a single Garbo slink. Those 
who read the story will remember the heroine's big motor 
car. Also a certain green hat she wore. Both are con- 
spicuous in the picture, though without reference to the 
color of the lady's hat. 




SCARLET SEAS— First National 

THIS is a picture of blood, brutality, cave-man love- 
making and drama that reeks with the thing called 
"guts." The story is typical deep water trader stuff — hard- 
boiled skipper in love with hard-boiled maid, mutiny, booze 
and murder, and in the end regeneration for the rough, tough 
skipper and his gal. Betty Compson and Barthelmess give 
excellent performances. Photography is splendid, with a 
kick for those who like full-rigged ships. The picture grows 
De MiUe-like and "gets religion" in the middle, but the 
Bible scenes are handled with a delicacy and humanness that 
should hold any audience hushed. It's patent, however, 
that the director never spent three agonizing days becalmed 
on a tropic sea in an open boat, suffering the hell-torture of 
heat and thirst. On the whole, however, it's good strong 
stuff, with plot variations that give quality. 




RED WINE— Fox 

HERE'S a charmingly whimsical little comedy that will 
inspire intellectual laughter. The slight story concerns 
a perfect husband who is led to a wild parly, becomes 
gloriously bunned and thinks that he has kept dates with 
any number of girls, when, in reality, it has been a frame-up. 

The delight of this simple yarn lies in the sophisticated 
direction of Raymond Cannon and in the faultless perform- 
ance of Conrad Nagel. Nagel, himself an abstemious man, 
does one of the most perfect drunk scenes we have ever 
witnessed. 

June CoUyer is attractive as the stay-at-home wife who is 
almost "wronged." This is rare entertainment worthy of 
comparison with Lubitsch at his best. Dialogue is to be 
inserted later and this should help, too. You mustn't 
miss it. 



5S 



Watch Photoplay's New Sound Reviews 



SOMEONE 
TO LOVE^ 
Paramount 




NAUGHTY 
BABY— 

First National 



BUDDY ROGERS' second starring vehicle is a clean, delight- 
ful comedy drama that any audience will enjoy. He is sup- 
ported by Mary Brian, whose feminine charm becomes more 
apparent in each picture. A young man with honest intentions 
becomes the victim of a fortune-hunting scheme of his associ- 
ates, and as a result very nearly loses his sweetheart. The 
picture is a story of young and innocent love. 



NAUGHTY, naughty! Li'l Alice White and Jack MulhaU 
make bad picture. Li'l Alice White doesn't wear any 
clothes, just like Clara Bow, but that isn't the naughty part. 
It's naughty for producers to bore you and make you waste 
the nicest evening. Oh, there's a cloak room girl and a rich 
boy. And maybe he isn't rich, but just a badie. Yes, he's rich. 
No, he isn't. Well, yes, he is. And what of it? 



ADORATION 

—First 

National 




AVALANCHE 
— Paramount 



THIS is the love song of a Romanoff prince and princess, 
written by Lajos Biro, author of "The Last Command." 
It rises above the chaos- of revolution and is drowned for a while 
in the clatter of post-war Paris. It is unique in that both prin- 
cipals are of the same social cast. . A perfectly constructed 
picture, in which Billie Dove's acting is second only to her 
exquisite beauty. Stimulating entertainrfient. 



THE combination of Zane Grey and Jack Holt means good 
he-man opera — and this picture is no exception. Holt is a 
"square" gambler who goes crooked in order to send his younger 
brother to college. Baclanova all but takes the picture with her 
splendid work as a dance hall girl in love with Holt. John 
Darrow, as the younger brother, and Doris Hill as the girl sweet- 
heart, are both good. A high-class Western. 



GERALDINE 
—Pathe 




THE RED 

MARK— 

Pathe 



THIS is about a gal who needs to know the ways of men. It's 
by Booth Tarkington, and light and funny. Marion Nixon 
is the gal, and Eddie Quillan the industrious youth who under- 
takes her education. Gaston Glass is the man she needs to 
know about. The plot doesn't matter. A cafe, liquor, laugh- 
ter, a raid, jail, then the girl and the right young man find their 
love. It's good — and watch Eddie Quillan. 

EL 



ONE of those depressing affairs of abused prisoners in a 
tropical penal institution. The cruel governor wants to 
marry the daughter of one of the prisoners. She, however, has 
a weakness for a handsome young prisoner who is about to be 
paroled. When the horrid villain discovers this, he cancels the 
parole and has her lover led to the guillotine — only then to dis- 
cover it is his long lost son! Can you bear it? 



for the Latest Talkie Developments 



RILEY 
THE COP 

Fox 




THE VIKING 

Techni- 
color- 
M.-G.-M. 



JFARRELL MacDONALD'S first starring vehicle is an 
.episodic account of the adventures of a Quixotic policeman 
sent to Europe to bring back a young embezzler. 

Riley and the boy are dear friends and the lad manages the 
trip for both. 

MacDonald gives a real, honest characterization, which is 
all that can be said for the picture. 

The obvious gags are lacking — thank heaven — but in spite of 
this the picture is a bore. 



THIS is the first all-color sound picture. It brings to the 
screen a historical romance dealing with the discovery of 
America by Lief the Lucky, son of Eric the Red, ruler of Green- 
land's hardy Norsemen. It is vital drama against a back- 
ground of tapestry-like beauty made possible through recent 
improvements in color photography. Pauline Starke, in the 
role of heroine, is a provoking armful. This is the first full- 
length color film since Fairbanks' "The Black Pirate," so tlon't 
miss it. 



[ AdJiiional reviews of latest pictures on page 92 



Sound Pictures 



ON TRIAL- 

Warners- 

Vitaphone 



PHOTOPLAY GOLD MEDAL 
A WARD — Fox-Movietone 




"/^N TRIAL" was one of the dramatic successes 
V-'sta 



of the 
'stage, and the cinema version is one of the best talking 
pictures made to date. Elmer Rice, the author, did a daring 
thing with the play when he conceived the idea of portraying an 
entire murder trial and using for his stage technique the movie 
flashback. By this, all the related incidents — childhood, court- 
ship, every action leading to the crime — were introduced. The 
result was a sensation. By the same means the all-talking 
picture becomes tremendously effective as we see the past and 
present and are moved by the voices of the characters. 

The story opens in a court room on the first day of a murder 
trial. The accused was the friend and debtor of the murdered 
man, and has confessed to the crime. Nevertheless, the testi- 
mony goes on and unfolds a great dramatic story. 

Pauline Frederick is the featured player and it marks her 
introduction to the talking pictures. She is supported by an 
unusually fine cast, including Bert Lytell, Lois Wilson, Holmes 
Herbert, Jason Robards, Richard Tucker and others. Also 
Vondell Darr, a little girl, gives a beautiful performance. 

.'\rchie Mayo is not a new director, but this definitely places 
him in the class of those who know how to direct. 

See this at your earliest opportunity. 



HERE'S a picture of real interest to Photoplay's readers 
because, for the first time, you may see and hear the 
results of your voting for the best picture of the year. And this 
3'ear, the Gold Medal Presentation was a transcontinental 
affair. 

James R. Quirk, editor and publisher of Photoplay, tele- 
phones from his office in New York, to Winfield Sheehan, 
production head of the William Fox Company, at the Fo.x 
Studios in Hollywood. 

Mr. Quirk notifies Mr. Sheehan that "7th Heaven" was 
voted the best picture of 1927 by Photoplay's readers. That's 
the scenario. 

And to furnish the happy ending, an airplane pilot delivers 
the Gold Medal to Mr. Sheehan at the conclusion of the 
conversation. 

This is the first time that the Gold Medal Award has been 
recorded in a newsreel. And so readers, whose careful and con- 
scientious voting has made this award such a high honor in the 
film world, will be interested to see and hear the actual cere- 
mony. 

Out of modesty, both Mr. Sheehan and Mr. Quirk declined 
to accept "best performances." 



' Additional reviews of sound pictures on page 93 . 



55 




r^UPPOSE you made mental whoopee by playing a game of 
^^ A dominoes with a celebrated author. Suppose you woke up the 
(_^ next morning to find yourself famous. Suppose you thus be- 
came the living Hollywood symbol of a Great Mind. What would you 
do? Yes, that's what Aileen Pringle does. But what do protests get her? 



56 



What Do 
You Mean- 




Aileen Pringle has been 
tagged "the darhng of 
the inteUigentsia" but, 
gosh, how she hates it! 

By Katherine Albert 



WHEN Aileen Pringle hears the word "intel- 
lectual" something curls up inside her like 
a permanent wave. 
You'd writhe, too, if you were tagged "the 
darling of the intellectuals." Suppose you were twenty- 
four-sheeted as the wittiest woman in Hollywood? Put 
yourself in Aileen's place, if you can. Think how you'd 
feel. So does Aileen — the victim of a phrase. 

Suppose you made mental whoopee by playing an 
innocent game of dominoes with a gentleman who 
happened to be, in addition to a bum domino player, 
one of the finest writers of fiction in America. Then 
suppose you woke up one morning to find yourself all 
over one of the country's biggest periodicals as having 
been the domino partner of a literary bonfire? You'd 
feel badly about it, too, just as you would if you had 
been caught playing stud poker for matches with your 
pastor. 

Suppose, on a sweltering day, you remarked, "Well, is 
it hotenoughforyou?" What would happen? Practically 
nothing. Yet if Aileen Pringle 
were to crack this chestnut, all 
Hollywood would be whisper- 
ing, in a half hour, that the 
First Wit had slipped. 

You can add "like olives," 
when anyone mentions an 
acquired taste, without blush- 
ing. Can Aileen? Not by a 
jugful of split infinitives! She 
has a reputation to sustain. 
She can never indulge in a 
[continued on page 105] 



Aileen Pringle isn't 
a social lion chaser. 
She makes no effort 
to be known as the 
pet of the typewriter 
pounders. She just 
likes 'em. "I like the 
people I like," she 
says. "One doesn't 
have to be clever 
with clever people" 




51 




Conrad 



in 



Quest 



of a 



Voice 



Wherein Mr. Nagel 
proves that a "phonetic 
voice" may be just as 
important as a photo- 
graphic face 

By Mark Larkin 



SEATED at a luncheon table on the screened porch at 
"The Masquers," which is to Hollywood what "The 
Lambs" is to New York, Conrad Nagel told me that talk- 
ing pictures have brought out a new kind of personality — 
the personality of voice. 

"Not that we haven't had voice personality before," he ad- 
mitted, "but we have never been so acutely conscious of it. 
"Did you ever stop to consider how great a bearing upon 
personality the voice has? Think of the various persons you 
have met, consider how their voices intluenced you. A stranger, 
for instance, in a group of people: You have never heard 
him speak, you know nothing of the sound of his voice. In out- 
ward appearance and general characteristics he is inconspicuous. 
Perhaps he is under-sized, plainly garbed, or otherwise un- 
impressive. But suddenly he speaks. You are startled. Your 
whole impression of his character changes. He may rise in 
your estimation, he may submerge. At any rate, his voice 
has affected you — its vibrant pilch, its magnetism, or possibly 
the lack of these qualities — has crystallized your opinion. Had 
he remained silent, had he gone out of the room without 
speaking, you would have retained your original impression — 
good or bad, as it happened to be. His voice personality, 
however, is what fixed your idea of the man. 

58 



"And so it is with the screen player appearing in talking 
pictures today. His voice personality will be largely responsible 
for his success." 

There is probably no one in Hollywood better qualified than 
Conrad Nagel to discuss the influence of voice upon personality. 
It so happens that the quality of his own voice — its "phonetic 
value" as the director of talkies woiddsay — has brought about 
a phenomenal increase in the Nagel popularity. In fact, since 
the advent of cinema conversation, Conrad Nagei's daily 
fan mail has increased twelvefold. Whereas, in the past he 
could carry it in his two hands, he now finds it impossible to 
carry the daily grist of letters in his two arms. 

"But do not get the impression," he hastened to explain, 
"that all you need to achieve talking picture success is a good 
voice or voice personality. Far from it! The talkies levy the 
most e.vacting tax upon ability that has yet been placed. 
And for that reason, players from the legitimate stage, with 
their wider e.x'perience, are signally successful in the speakies." 

For this, it seems there is one outstanding reason. 

"Actors and actresses who have had screen experience 
only," Nagel explained, "are not schooled in maintaining 
audience tempo. A screen scene that runs one hundred feet 
is a long scene. Yet it passes [continued on page 113] 







i 




if 



\ 



■i' 





\ 





\ 




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Ja 


t' 


■'rr 


>f>-^ 


^ 


i 







Ruth Harriet Louise 



^^N the opposite page you will find a story on "voice personality." The speaker is 
fy Conrad Nagel. He tells you that many people are afraid to speak correct English, 
^"^ because they might be accused of putting on airs. And he predicts that, just as the 
screen has given us a new standard of personal appearance, so will it improve the quality 

of our speech. 




Don't try to wear a 
helmet hat with a 
strap, unless you 
have a well-shaped 
chin — and only one. 
This Lewis hat is of 
gray felt. With it, 
Marion Davies wears 
a gray cloth coat, 
from Jenny, with a 
wide collar of white 
fox flecked with 
black tips 



The trousers of this 
Lelong lounging cos- 
tume are almost as 
wide as a skirt. The 
pajamas are of white 
satin, made all in one 
piece. And the coat 
is black velvet with 
large white dots and 
edged with white 
satin 



Clothes 

Some Paris cos- 
tumes that show 
the excellent taste 
of Marion Davies' 
personal wardrobe 





This Jenny evening coat is of thin, shim- 
mering gold cloth, with an interwoven 
design of blue and gold. Around the un- 
even hem is a narrow fringe of gold .beads. 
It has a collar of silver fox. With it, Miss 
Davies carries a flat gold bag from Milgrim 



that Speaf 

Fren ch 




Marion is most charming in this Lelong 
eveping gown of white lace. Like all good 
evening dresses, it has a decided dip, with 
a tight waist-line and a bit of fullness at 
the hips. The waist is bolero effect, plain 
in front but full and dipping at the back 



Another youthful evening gown — this 
one from Lanvin. It is oyster white satin, 
and here and there on the full skirt are 
medallions of pearls and brilliants. A 
jewelled band falls from the high neckline 
to the edge of the ankle-length skirt 



pHHV 


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IV 


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If 


aH|^M| 


flu 


H|H 


^^ 


^^^^^^^^^KmZ^ 




^H 


i 


^^^^l^^^^^MHH 


m 


1 



There's a dash about this Callot creation that 
suggests a Russian military coat. It is three- 
quarters length, with a tight-fitting back and 
flaring skirt. The color is ash rose, embroid- 
ered in gold, and luxuriantly trimmed in sable 




% 






'^!K 





\ 



Aulrey 



(^"T^ARKY NORTON'S parents wanted him to enter the diplomatic service 

/^ of his native country, the Argentine. Barry wanted to see the world before 

continuing his studies. In the course of his travels he arrived in Hollywood. In 

the story on the opposite page, you will find Barry's own account of how he broke 

into the movies. 



Uougs 
Office Boy 

Makes Good 



Who says that the modern 
boy has no spirit of adven- 
ture? Read the lively 
story of Barry Norton's 
career 

By Cal Yo7-k 




Casting directors told him he "wasn't the type." 

They advised him to go home. But when the 

public saw him in "What Price Glory," it voted 

him very much the type. So he's staying 




Alfredo Biraben — at the age of 
four. This photograph was taken 
in Buenos Aires, where Alfredo was 
born. You know him now, of 
course, as Barry Norton 



THREE years ago he was Douglas Fairbanks' office boy. 
Today he is one of Hollywood's best actors. 
Tomorrow — do we dare predict about tomorrow? In Barry Norton's 
case, yes, for tomorrow is rich with promise, the promise of stardom for 
this lad, despite the fact that three years ago it was a big day's work when he 
opened the Fairbanks mail. 

Alfredo Biraben rebelled at the idea of being a diplomat, and, because of that, 
Barry Norton became an actor. You see, Alfredo Biraben and Barry Norton 
are one and the same. At the age of nineteen, Alfredo, living in Buenos Aires, 
the city of his birth, found Fate and Firpo in a conspiracy tc shape his destiny. 

That was five years ago. 

Firpo, if you remember, came from the tall grass of his native country to the 
city of New York to battle Jack Dempsey, then world's leading leather-pusher. 
And accompanying Mr. Firpo — or at least hovering close enough to reflect his 
glory — were twelve snappy young Argentine lads, all about twenty, constitut- 
ing themselves his rooting section. They were eager to see the Wild Bull of the 
Pampas knock the Dempsey block loose from its moorings, and it was no fault 
of theirs that he failed. 

In South America — particularly in the Argentine — education is dispensed 
quite differently from methods emplo\ed in our good old U. S. A. Many 
educators claim the South American systems are more thorough, which is a 
point we will not argue. At any rate, these twelve young men had reached 
that period in their education where they were to decide upon various and 
sundry life callings, and to pursue, thereafter, specific training for their 
careers. 

But Barry Norton had not been allowed to choose his career. His parents 
had done it for him and, unfortunately, their selection had not pleased the lad. 

His father was a government geologist who had dreamed of diplomatic 
service, and he was an.xious, therefore, to see the dream fulfilled in the chosen 
work of his son. And, too, it was the earnest wish of his mother. 

But the boy's leaning was toward architecture. 

So he looked with gloom upon the prospect of returning to the Argentine. 

" I had my passage home," he said, "in fact, it is still rotting in the oflice of 
the Argentine consul of New York. In addition [ continued on p.^ge 96 ] 

65 




John Gilbert was given four best per- 
formances during 1928, in "Four Walls," 
"The Cossacks," "Man, Woman and Sin" 
and "Masks of the Devil" 



N 



fashion. 



INETEEN TWENTY-EIGHT will go down in iilm 
history as the year of the talkie. 

The advent of the synchronized sound picture has 
dented the Hollywood histrionic ego in no mean 
Instead of newi personalities, we have new methods 



of reproducing sound. 



Photoplay 

By 

Frederick James Smith 

Summary of 1928— Fif- 
teen stars and players 
scored more than one 
best performance 



Right now Hollywood is looking for young women with the 
IT of Greta Garbo and the voice of Julia Marlowe. Young 
actors with the appeal of Rudy Valentino and the enunciation 
of Walter Hampden can get a job any time in the celluloid 
capital. Since none of these combinations have been found 
yet, the sound pioneers may be said still to own their complete 
set of worries. 

Out of all the hysteria of synchronization just one personality 
has emerged — Al Jolson. There are no other big dialogue-and- 
song hits yet. 

One new silent star climbed into the firmament — Joan 
Crawford. 

It has not been a very successful year for the old line lumi- 
naries, such as Mary Pickford, Doug Fairbanks, Norma Tal- 
madgeandLon Chancy. Pola Negri has withdrawn from view. 

Baclanova and Camilla Horn top the new and glamorous per- 
sonalities. K little further back we have Lupe Velez, waiting a 
real opportunity to flash. 








George Bancroft 

"Docks of New York" 

"The Draft Net" 



Richard Barthelmess 

"The Noose" 
"Wheel of Chance" 



Betty Compson 

"Docks of New York" 
"The Barker" 



Gary Cooper 

"Legion of the Condemned" 
"Beau Sabreur" 



Joan Crawford 

"Four Walls" 
"Our Dancinft Daughters" 




Marion Davies 


Louise Dresser 


Greta Garbo 


Janet Gaynor 


Jean Hersholt 


'The Cardboard Lover" 
"The Patsy" 


"Mother Knows Best" 
"His Country" 


"Mysterious Lady" 
"The Divine Woman" 


"Street Angel" 
"Four Devils" 


"Jazz Mad" 
"Abie's Irish Rose' 



64 



Reviews 
Film Year 



The big five in popularity are still John Gilbert, Emil 
Jannings, Greta Garbo, Clara Bow and Harold Lloyd. 

Janet Gaynor climbed a little closer. Pretty soon she may 
be one of the big si.\. 

The comedians have had a tough year. Charlie Chaplin 
and Harold Lloyd maintain their preeminence, but such comic 
figures as Buster Keaton, Harry Langdon and Doug MacLean 
have passed into eclipse. In Langdon's case it has been a total 
eclipse, observed in all parts of the Northern Hemisphere. 

The year ran chiefly to one style of story — underworld. 

The screen was surfeited with Russian stories, chiefly phony, 
and there was an avalanche of sea films. War pictures, mostly 
of aviation, continued. But 1928 was principally a year of 
gunmen. 



DOLORES DEL RIO climbed into the best sellers with 
"Ramona" and now, due to varying performances and ill- 
judged publicity, seems to be climbing right out again. 1929 
will tell whether or not Miss Del Rio was a flash in the pan. 

Look at the case of Gloria Swanson. Months have passed 
and she has not started on her ne.xt, to be directed by Erich 
Von Stroheim. Her 1928 record rests upon "Sadie Thompson," 
a good effort and a much talked about one. But Miss Swanson 
can not afford to let the months roll around without pictures. 

Consider Lillian Gish. No picture at all, save an old one, 
"Wind," just released by Metro-Goldwyn. Her next, to be 
handled by United .Artists, is still far away. Yet Miss Gish 
is considered by many to be the screen's most distinguished 
actress. 

Such consistent stars as Adolphe Menjou, Richard Barthel- 
mess, Richard Dix, Ronald Colman and Vilma Banky held 
their own during 1928. ^ 

The directors? Clarence Brown crashed up against his first 
big disappointment, "The Trail of '98." D. W. Griffith added 
nothing to his glorious record with "Drums of Love" and "The 
Battle of the Sexes." Cecil De Mille contributed a second rate 
sermon, "The Godless Girl." Erich \'on Stroheim's "The 
Wedding March" died on the cutting room floor. 

The big megaphone laurels go to Ernst Lubitsch, for his 




Emil Jannings registered three best 
performances in Photoplay's Shadow 
Stage, in "Street of Sin," "The 
Patriot" and "The Last Command" 



"The Patriot"; F. W. Murnau, for his "Four Devils"; Josef von 
Sternberg, for his "The Last Command"; Paul Leni, for his 
"The Man Who Laughs"; and Lewis Milestone, for his "The 
Racket." King \'idor followed his noble experiment of last 
year, "The Crowd," with a neat comedy, "The Patsy." Harry 
b'Arrast continued to show improvement in the field of high 
comedy. 

The best of the year's bumper crop of crook dramas was 
"The Racket." This did a lot to help Thomas Meighan. 

Marion Davies did the best work of lier career in "The 
Patsy," already noted. 

The popular success of "Our Dancing Daughters," which 
made a star of Joan Crawford, is likely to start 1929 off with a 
deluge of lively pictures of youth and jazz. 

1928 completely washed up on Western melodrama. This 
means that such high paid stars as [ coxtinued on page 111 ] 




Thomas Meighan 

"The Racket" 
"The MaUng Call" 



William Powell 
"The Drag Net" 
"In terf erence' ' 



Fay Wray 

"The Weddinft March" 
"Legion of the Condemned" 



PHOTOPLAY'S Honor 
Roll for 1928 

Players and Number of Best 
Performances 

John Gilbert, 4 

Emil Jannings, 3 

George Bancroft, 2 

Richard Bartheltness, 2 

Betty Compson, 2 

Gary Cooper, 2 

Joan Crawford, 2 

Marion Davies, 2 

Louise Dresser, 2 

Greta Garbo, 2 

Janet Gaynor, 2 

Jean Hersholt, 2 

Thomas Meighan, 2 

William Powell, 2 

Fay Wray, 2 

65 



By 

Alice L. Tildesley 





OOD 
IRL 



Ken Laurel had 
seen her picture, 
"The Home Girl," 
which had earned 
her a long term 
contract. In real 
life Ellen was just 
the girl she had 
played. Once she 
had even taken a 
prize for making 
chicken pie 



LLEN saw Ken Laurel's shadow before she met him. 
Afterwards, she used to wonder if that didn't somehow 
symboHze their rehitionship, — his shadow darkening 
the bright pattern of her life, yet not affecting him at 
all. She was a sentimental little thing. 
The shadow incident occurred in the big living-room wherein 
Hollywood's favorite hostess was serving Sunday afternoon 
tea. Ellen's backless antique chair 
was set close to a great studio win- 
dow that opened on a patio; sunshine 
pouring in made her modest slipper 
buckles gleam. She drew her prim 
little hat down on one side because 
of the dazzle in her e.ves. . . . And 
then she saw the shadow on the pol- 
ished floor, a grotesque thing sprawl- 
ing across the bright blotch from the 
radiant window. 

"Ellen, darling, I don't believe 
you've met Ken Laurel. Ken, this is 
Hollywood's shining example, — a 
girl who doesn't drink or smoke or 
pet." 

The hostess' svelte figure blotted 
out the shadow; she bent over Ellen, 
a long scarlet cigarette holder almost 
touching the prim little hat. 

Color rose in a 
painful flood from 
Ellen's pretty throat 
to her bright brown 
hair. She put her 
fingers into those 
outstretched to re- 
ceive them and 
veiled her eyes with 
her lashes. But she 
saw him distinctly 
— big and broad and 
self-confident, with 
sea-blue eyes and 
the ruddy tan of a 
sailor. . . . He had 
a private yacht. 

" Have you no 
vices?" he asked, 
whimsically, and 
though it was an 
old line, she laughed. 
"Don't tell any- 
one — / cat onions!" 
she retorted, drop- 
ping her voice as 
though imparting a 
tremendous secret. 
He sat down by 
her and the rest of the afternoon became a 
rosy blur. It was. the only time so far as she 
could remember later that their conversation 
turned on her. He had seen her picture, "The 
Home Girl," which had earned her a long term 



66 



^EN LAUREL 

^ thought only 
of his career and 
his close-ups and 
her heart stood still 

for years until — 



Illustrated by 

O. F. Howard 



contract, and he listened to 
what she said about Big 
Brother and their rose- 
colored bungalow and how 
she had once taken a prize 
for making chicken pie. 

Big Brother himself inter- 
rupted the letc-a-lcle by 
putting his head into 
the room and calling: 
"Paging Miss Ellen 
Field!" in stentorian 
tones. Brother always 
took Ellen to and from 
parties; she couldn't 
drive ; besides he 
thought of her as some- 
one inexpressibly 
precious. 

Ken walked to the 
car with her, handing 
her in with an air of 
deferential adoration 
familiar to his fans, and 
stood for several min- 
utes looking into her 
eyes. 

He called up just as 
she stepped into the 
bungalow to know if he 
might come over that 
evening. She asked 
him to supper and made 

some featherweight biscuits before he got there. Later 
they took a walk down the palm and pepper lined street 
and he asked if she minded his calling her Ellen. 

She decided, as she lay blissfully sleepless in her white 
bed that night, that she would be married in church; the 
bridesmaids should wear orchid and carry yellow roses. . . . 
Pale blue with apple-blossoms would be lovely, but it would 
be so long before there were any apple-blossoms. . . . 

The company that starred Ken Laurel borrowed Ellen to 
play opposite him in his next picture which was made on 
location in a mountain wilderness. The principals lived in a 
lodge by a silver-shining lake that rippled almost to the edge 
of the rustic veranda. Ellen could hear the waves lap-lap- 
lapping below her window as she lay in the dark telling over 
the rosarv of hours of the too-brief davs. 








SHE was happy — rather determinedly happy. Ken saved a 
place for her beside him at the table and made a great to-do 
over whether or not her coffee was hot. 

He called her "Our N'ell," caressingly, and put' great fervor 
into their love-scenes. 

He even organized a band to serenade her, his own passable 



When Ellen came back 
from Italy she was 
wholly changed. Ken 
liked women of the 
world, did he? She 
bobbed her hair. The 
carmine line of her lips 
became a flame in the 
dead white of her make- 
up. "Ellen's gone flap- 
per," Hollywood said, 
as it watched her trans- 
formation 



!| / baritone ringing out above the ukulele and 

// portable organ borrowed from studio musicians. 

* /■ "Give me all your love, dear, 

^.,y/ Or else give me none! 

Give me every kiss, dear, 
I Or not our!" 

he would sing, standing silhouetted in manly 
beauty against the rising moon. 

She listened from her window, a darkened win- 
dow, of course, so that no one might see her 
modest negligee. The trouble was, she decided, that they were 
never alone — an assistant director, a camera man or a character 
woman was always within earshot. But the last day of the 
eight weeks brought opportunity. . . . 

The script called for a "long shot" of Ken and Ellen in a 
canoe far out on the lake. She sat facing him, the breeze 
ruffling her pretty hair, her shy brown eyes pleading: "Oh, tell 
me you love me!" But he, leaning on the oars, developed an 
interest in fish and insisted on explaining the difference between 
fresh and salt water sport. 

"It's the first time we've been alone together since we came," 
she managed to observe when he had finished a tale about a 
swordfish. [ continued on page 100 ] 




oounding a o 



ong 




L 



OOK over these pictures reveal- 
ing the inside of a sound film 
'studio in action. They're the last 
you will see for some time. The pro- 
ducers have banned disclosures of 
the talkies. 

Here }ou see "The Desert Song" 
in the making at the Warner Broth- 
ers Coast Studios, with the same 
scene from above and from behind 
the camera booth lines. The cam- 
eras are within glass windowed sound 
proof booths. They bear the nu- 
meral 2 in both pictures. Look close 
for the microphones hanging in lines 
and on stands just above and out of 
reach of the camera lens. Also be- 
hind the camera booths and fronting 
the orchestra. Thus you get the 
dialogue, the songs and the back- 
ground music. A sound film set still 
is a pretty cramped place — but the 
talkies are in their infancy. 

Incandescent lights are used for 
the talkies. Sound film photography 
still is handicapped by the fact that 
the cameras have to be out of sound 
range, so that the microphones do 
not pick up their whir. 



CB 



5^ 



EELiNG Around 






W 



ith 



Leonard Hall 



The Gag of the Month Club 

By Walter O'Keefe via Mark Hellinger. 

Rin-Tin-Tin, the dog star, was given a talking 
picture test recently. 

He failed to pass, as he was found to bark like 
a Pekinese. 

Laughing It Off 

Gilda Gray has a birthday . . . Shake, Gilda! 
. . . Frank Keenan, at 70, marries a third wife 
. . . and they called his first movie "The 
Coward"! . . . Tex Guinan, back from Holly- 
wood, says that if her night club racket fails she can always get 
a job as bridesmaid for Peggy Joyce . . . Uncle Carl Laemmle 
tells his directors, "Sure, I want sex . . . but I want CLEAN 
sex!" . . . Favorite greeting of movie managers in New York 
. . . "How's business, you liar?" . . . Lya de Putti, in New 
York, shopped SI, 900 worth in one day . . . Just reviving the 
old game of Putti and Take. . . . Sixty four hundred people 
attended '"La Tosca" in Los Angeles 
ordinary people and Norma Shearer. . . 

a parrot is just a canary that has taken up Vitaphone. . . .Fox 
Hnes up 103 theaters in New York . . . Originating the old 
saw about "Dumb like a William Fox." 




That is, 6,399 
Eddie Nugent says 



The Star 

At parlor games I admit I'm rank, 
At Ritzy gabble a total blank, 
At parties I never cause a stir — 
But goodness me, how I register! 

Hearts and Flowers 

James Hall and Mema Kennedy have ceased bleating . . . 
Jack Gilbert, on his New York visit, is said to have gone overboard 
for Dorothy Parker, wit and poet . . . Don't tell Greta. . . . 
Marceline Day announces that she has never been really in love 
. . . which cinches it that it Can't Be Long Now. . . . The 
Evelyn Brent-Gary Cooper crooning seems to have suspended. 
. . . Bessie Love and Eddie Foy, Jr., are Being Seen Places. . . . 
Joan Crawford's anklet, gift from Doug the Younger, says "To 
darling wife from Dodo" . . . Dodo I ... If he writes like that 
it certainly is love and no fooling! 

Gettuig Personal 

Doug and Mary lunch with the President . . . Mr. 
Coolidge, it is reported, said "Yep!" three times, and "Nope" 
eight . . . Doug stunned Washington with a trick beret. . . . 
Sue Carol is now 21. . . . Japanese film kisses are limited to 
30 seconds ... In that time Jack Gilbert could barely 



MOVIE STUNT MAN— "Darn it! 
There goes my fountain pen ! " 



take a breath and pucker up. . . . Betty Bronson weighs 98 
pounds. . . . With the Sunday papers under her arm, prob- 
ably. . . . Vilma Banky is to make a talkie . . . Like 
"Darlink, I loaf you." . . . Since the Strand, New York, went 
all-talkie, the orchestra of 18 men plays exacth' 16 minutes a 
day ... at full salary . . . and I sassed my mother when she 
wanted me to take up the oboe! . . . Don't call a failure a 
"flop" any more. . . . When a show or a romance blows up, it 
is now said to have "laid an egg." ... In South Africa is the 
"Bio-Tearoom" . . . Admission, the price of one cup of tea, 
and you can watch moom pitchers as long as you like. . . . 
Reliably reported that Fairbanks will quit as an actor after 
present picture . . . That act is called "Pulling a Patti" . . . 
Juanita Hansen, former serial star, was scalded in a hotel 
shower bath and sues for sS2S0,000 . . . Hot mamma! . . . 
Nils .Esther is in training to be Metro's Heavy Lover Ace when 
Gilbert goes United Artist. . . . Bill Reid, son of the late 
Wally, plays the saxophone. . . . Who is the male star who 
has been losing all his money at the old army game of black- 
jack? . . . Dustin Farnum is living in retirement on Long 
Island with bis wife, Winifred Kingston. . . . Pearl White 
. . . Remember Pearl? . . . is running a swell gambling casino 
at Biarritz. . . . .'\ girl named Mary Pickford standing for 
Parliament in England . . . Probably on a Modified Bob 
Platform. 



The Little Star's Letter 

Dear Santy Clans, I do not ask 
A mess of things from you. 

I'm practically perfect now — 
There's little you need do. 

Give me a dash of Swanson's nose. 

The leaping legs nf Bow, 
A touch or two of Ralston' s hair, 

And Lupc's fiery glow. 

Give me the charm that Pickford had, 
The pep that Moore has noiv, 

Give me the oo-la-la of Dove — 
And I'll get by somehow. 



69 



Amateur Movies 

By Frederick James Smith 

Interest Grows in $2,000 Prize Contest — Many Clubs 
Preparing Entries — News of Amateurs 




Filming a scene of "Freshman Days," with the Flower City 
Amateur Movie Club, of Rochester, N. Y., on location 



INTEREST in Pho- 
toplay's S2, 000 Am- 
ateur Movie Contest 
is increasing steadily. 
Judging from the notes 
of information and in- 
quiry, the number of 
contest iilms submitted 
will far exceed the 
prints presented for the 
consideration of the 
judges in the first con- 
test. 

Not only is there in- 
terest throughout 
America in the con- 
test, but there will be 
contesting films from 
abroad, as well. 

Photoplay wishes to 
repeat its advice of the 
past: Be sure to read 
all the rules with ex- 
treme care. Every film, to be considered by the judges for any 
of the prizes, must conform to every rule. 

Send in your contest films early, if you wish, but remember 
that they cannot be returned until after the contest closes. 
Photoplay suggests that you hold your film as long as possible. 
Repeated examination will find many ways of improving it. 

PHOTOPLAY has received a number of inquiries from 
organizations regarding the sort of equipment necessary to 
do successful 35 millimeter (standard film) work. 

Photoplay suggests that such clubs will find either the 
De Vry or the Eyemo cameras ideal for 35 millimeter work. 
Both of these cameras are used continually in the leading Holly- 
wood studios for special and unusual shots. 

Both of these machines are equipped with a good all-round 
lens for general photography, but organizations will need a 
speedy lens for close-ups and for interior shots. .\t least three 
lights will be essential and more will be required if you expect 
striking interior shots. 

It is easy to 
make your own re- 
flectors. If you 
don't know how, 
write this depart- 
ment and enclose 
a stamp for reply. 

A tripod for the 
camera, a combi- 
nation rewinder 
and splicer for cut- 
ting and editing, a 
projection ma- 
chine and screen 
for observing the 
picture and, per- 
haps, some special 
lens filters. This 
will constitute a 
good working 
equipment. 

Still, all-round 
outfits are not al- 

70 



ways necessary. Some of 
the best films submitted 
in the first Photo- 
play Amateur Movie 
Contest — and some of 
the winners, as well — 
were made with an 
equipment that con- 
sisted only of a camera 
and a re-winder and 
splicer. Step-ladders 
acted as tripods. Home- 
made lights served 
their purpose satisfac- 
torily. Everything de- 
pends upon the inge- 
nuitv of the user. 



THE Chicago Cine- 
ma Club off^ers an 



— .■ ■■■ ■ 




The Drama Class of the Newport News, Va., High School is making 

another student film. The Drama Class was well represented in 

PHOTOPLAY'S First Amateur Movie Contest 



interesting example of 
the way a good ama- 
teur organization 
should function. "Chicago," a composite film study of the 
city co-operatively produced by members of the club, has just 
been screened. Members contributed shots of the city which 
were edited by a committee into a complete film narrative of the 
civic and industrial life of Chicago. Joe Symons is now presi- 
dent of the Chicago Cinema Club, Oscar Nugent is vice-presi- 
dent, Dwight Furness is secretary and Frank T. Farrell is 
treasurer. 

THE Amateur Motion Picture Club of Miami, Florida, is 
getting ready for the Photoplay Amateur Movie Con- 
test. The club has been holding weekly meetings and shooting 
short productions in order to gain experience. 

The Miami club was lately formed with a membership of 
fifty. Miami city officials are offering every possible co-opera- 
tion. The organization recently shot "The Hero" in two 
Sundays of work, with Dr. Milton J. Benjamin directing. 
F. H. Arcularious is president. 



THE Cumber- 
land Amateur 
Motion Picture 
Club, of Vineland, 
N. J., is prepar- 
ing two 35 milli- 
meter productions 
to be submitted in 
Photoplay's 
Amateur Movie 
Contest. Thecam- 
era work on one of 
these, an under- 
world melodrama 
bearing the work- 
ing title of "Judg- 
ment Fulfilled," is 
half finished under 
the direction of 
Roy C. Ehrhardt. 
Sixteen hundred 
[ continued on 
PAGE 110 1 




Thousands of home Christ- 
mas trees will be immortal- 
ized in amateur movies 
during the coming holidays. 
Indeed, the Christmas tree 
will be probably the first 
object to fall victim to the 
new camera. To help be- 
ginners Photoplay pre- 
sents these two pictures. 
Here's how you should pose 
your tree and the belle of 
your household. You need 
two lights, placed so that 
your baby's face will not 
have bad shadows. Then 
attach a fast lens to your 
camera — and shoot. If the 
room is brilliantly lighted 
by the sun and your lens is 
fast enough, you can get 
your shots without artifi- 
cial illumination. In these 
specially posed pictures for 
Photoplay — by Eva von 
Berne, Eddie Nugent and 
little Evelyn Mills — a Filmo 
and two of the new home 
photography incandescent 
lights are utilized 





H 



Buy an unblocked felt shape in the color 
that is most becoming to you. It may 
look unpromising, but don't be dis- 
couraged. Study it carefully and decide 
just how you want to drape it to fit 
your head 



Now, with a sharp pair of scissors, 
cut the brim from the crown. Leave 
about an inch and a half of felt on the 
brim, as you will need this to work on. 
And be sure that you cut in a neat 
circle 

72 



OW to 



Make 



By Lois Shirley 




DON'T start telling me that the stars are all lilies of the field 
who walk into the most expensive store in town and pay 
hundreds of dollars for their dresses and hats. 
I've been shopping with them and I know. I shall never 
forget a day when Joan Crawford and I discovered the grandest sale 
of sweaters for $2.95 and Joan was quite as thrilled as I was. She 
bought two and added to her purchases the most cunning little 
fifteen-dollar dress you ever saw. You should have seen the look 
on the saleswoman's face when Joan wrote the check. 

"You're NOT Joan Crawford?" she asked in an amazed voice. 
And Joan had to produce every sort of evidence that it was really 
she before the store would accept the check. "Well, I never thought 
that YOU would come into this little shop!" 

'"Maybe I've shattered an illusion," said Joan, as we went out, 
"but you can't tell me that these sweaters are not just as good as 
ten and fifteen dollar ones." 

Any number of the stars patronize the smaller shops and some 
of them are handy with the needle and do much of their own 
sewing. Eleanor Boardman made six little porch frocks not long 
ago and Gertrude Olmsted actually invented and patented a 
house dress. 

NOW along comes Esther Ralston with a smart winter hat that 
can be made for $3.50 and a couple of hours' work. This is not the 
first time that Esther has made herself useful as well as ornamental. 
She takes great delight in designing and executing frocks for her 
little nieces. 

But I must tell you about this wonderful hat. Esther was good 
enough to pose showing just how it is done and you can follow it 
through picture by picture and stitch by stitch. 

I know that you've seen whole tables covered with unblocked 
felt hats in the department stores. As you know, these can be 
bought for $2.50 and up. They come in all colors. It happens 
that Esther chose one of rose beige because it is the shade that is 
most becoming to her. How awkward and ungainly the shape 
looks until skillful scissors and needles do the work! 

The first step consists in cutting the brim from the crown. Of 



Next, as Miss Ral- 
ston demon- 
strates, lift the 
brim from the 
hat. Cut the brim 
straight down the 
center of the 
back. If the crown 
is too large for 
your head, take a 
tuck in the back. 
If it is too deep, 
trim it down un- 
til it fits you 



a Winter Wat for ^3.50 

It can't be done? Then take a little lesson in 
millinery from Esther Ralston 






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Go to a mirror and watch the 
next few steps carefully. Pin 
the front of the brim to the 
front of the hat, so that the 
brim makes a frame for your 
face 



course, you must remember to leave 
about an inch and a half of the felt 
standing to the brim as this gives 
something with which to work. It 
leaves a solid body that is necessary 
lo the success of the chapeau. 

Now comes the tricky part. 
Stand in front of a mirror and 
place the crown well down over 
your head. If it is too deep, trim 
it down to the right size. If it 
is too large take a tuck at the 
back. These little tucks are 
very chic and sometimes add 
ji'st the touch of smartness 
for which you're looking. 



THE brim, which has been 
split at the back, is now 
turned upside down and 
pinned to the crown tempo- 
rarily unlil you have decided 
upon the lines. 

Esther decided that the up- 
ward rolling brim is best for her, 
so the crown is pinned at the 
center back in a neat little roll. 
You will note that the brim is 
placed rather high on the crown, 
giving the smart bandeau effect. 

The brim and crown may now be 
sewn together and the ragged edges 
evened up. With the hands the brim 
is shaped, a low droop on the left 



This is where you show your 
skill. Roll the front of the 
brim, bring it down on the 
sides, and fasten in the back. 
Experiment to see what line 
suits vou best 




Miss Ralston has placed the 
brim high, to give a bandeau 
effect, and has shaped it into 
an upward roll. The brim is 
fastened to the crown at the 
back 



and an upward sweep at the right, with 

a short hne at the back. The finishing 

touch is accomplished with an ony.Y 

and rhinestone pin at the side front. 

The pin cost $1. 

And there you have a hat in 
which you would not be ashamed 
lo lunch at the smartest restau- 
rant in town. The beauty about 
it is that this is not the only 
shape that may be made. Felt 
lends itself to draping and if you 
e.vperiment long enough before 
your mirror you may be able to 
evolve an even smarter, more 
becoming design of your own. 



Here is the finished hat, 
tricked out with an orna- 
ment that may be purchased 
for one dollar. The total cost 
is only three dollars and a 
half, but the effect is that of 
a hat three times as expen- 
sive. Any girl with only a 
slight knowledge of milli- 
nery can easily make one like 
it for herself 

IB 



"Imagine My 



By 

Ve r n o n 
Bailey 



Kmbarrassment 




It was Charles Francis Coe, the author, who 
asked Don Terry if he wanted to take a test for 
"Me, Gangster." Terry thought he was kidding, 
but he figured it might give him a chance to 
see the inside of a studio 



ANYBODY that has ever read about Hollywood knows 
about ^lontmartre, or at least almost anybody. 
For the benefit of those who do not, allow me to 
explain that Montmartre is not a tough section of the 
city, but a restaurant. And this stor>- is somewhat of a free 
advertisement for that restaurant. 

Exactly speaking, it is a dissertation about lunch and the 
evils thereof, if any. It is the tale of a lunch that paid and 
paid and paid. A man paid, not a woman. 

A statistician with a sense of humor once figured that one 
out of ever\- eighty-four movie actors was ''discovered" while 
lunching at Montmartre. The yarn is a bit hackneyed and 
would have been cast into oblivion had not Charles Frances Coe, 
the well-known author, come to town. 

The tale we are about to unfold deals with one Don Terry, 
of whom you probably never heard before in your life. If 
things go as Charles Francis Coe expects, however, you will 
hear much of Mr. Terr\-. 

It so happened that Terr\' had betaken himself to Mont- 
martre for lunch. .And on the same day, Mr. Coe, wearying of 
his typev,riter and the Fox lot, likewise had betaken himself 
to liontmartre to appease the inner man. 

Columnists and humorists have commented so frequently 



When I ordered luncheon 
at Montmartre and got a 
job in the movies." How 
Don Terry, tourist, found 
out that he was "just the 
type" 



upon the matter of screen opportunities ofifered by the Mont- 
martre, that I hesitate to set forth what actually happened 
this particular day. 

But even at the risk of being ridiculed, I shall tell the har- 
rowing truth. Or I shall do even better. I shall allow Mr. 
Terry to tell the harrowing truth, in his own words: 

"T H.\D no idea," Mr. Terry began, stepping briskly up to 
-1- the microphone, "that anything untoward was going to 
happen. As a matter of fact, I had written home to tell the 
folks that the prodigal was returning, and to prepare the fatted 
calf's liver and onions. 

"But you see, during my stay in Hollywood, I had seen no 
picture stars. In fact, I had found picture stars altogether at 
a premium. I could not get into a studio. On Hollywood 
Boulevard I could find only branches of the Bank of Italy, a 
branch to every corner. Then someone told me about Wednes- 
day and the ^lontmartre, so to the Montmartre I went for 
lunch, expecting to glimpse a star or two but finding chiefly 
lowans with the same idea as my own. 

"Imagine my surprise whan a man came over to me and asked 
if I was in pictures. I thought he was kidding, especially when 
he said I was just the type. He looked so much like a tourist, 
however, that I resolved not to hit him. I took his card and 
read the name, 'Charles Francis Coe,' figuring that maybe it 
would give me a chance to see a studio. I had only the vaguest 
idea of what a test was, but I paid my check and set forth for the 
Fox Studio." 

Young Terry evidently believes in the luck of the Irish, for 
his name is not Terr\' at all but Loker — Donald Loker. Loker 
would never do on the screen, however, and Don Terry will do 
very handsomely. 

THE thing Coe had in mind for Terr>' was the lead in a 
picture he had just written from his story, "!Me, Gangster," 
which Raoul Walsh directed. Coe felt that Terr\- was, as 
he so aptl_\' expressed it, "just the type." 

The author took his "find" to the maker of "What Price 
GloPi'," and that worthy gave him the up-and-down and 
said, "Coe, I think you've got something." He made a test 
and as soon as it came out of the laboraton,-, Don Terry was, 
without any previous screen experience, a leading man. 

And still they say there's no Santa Claus! 

As to whether Terry will remain a leading man is another 
matter. It will depend upon whether he can act. But for the 
present he has a job that most folks would give their index 
finger or toe to capture. And his qualifications for holding 
it are the following: [ coxtinued on page 105 ] 




Richee 



/UST a little story to show why Lupe Velez is the favorite star of 
the prop boys, electricians and extras. When Lupe finished "The 
Love Song," the prop boys presented her with a hand-carved make- 
up box. The oldest property man made the presentation, and Lupe re- 
warded him by kissing him on both cheeks. "Every man offer Lupe 
diamond, which she no take, but no man every made anything for her 
with his own hands." Whereupon everyone had a good cry 



r/fi 




resstng 
A 

Good Game 




Modern golf is excel- 
lent for displaying 
perfect form. Gwen 
Lee has no sleeves to 
bind her, no hose to 
run. She knows her 
niblicks. Bu tin 
mother's day girls had 
things on their minds, 
particularly those 
fuzzy Scotch tarns 
and the vague feeling 
that a spoon shot 
sounded faintly im- 
proper 




Gaze on the little 
water wow, center, 
ready to launch forth 
on that abandoned 
breast stroke. Com- 
pare her with the trim 
young thing illustrat- 
ing the new freedom 
of the seas 



When a girl arrives at the 
tennis courts gowned with 
comfortable distinction, the 
man behind the net knows 
she has a beautiful serve. 
Formerly her costume 
warned him that the only 
stroke the poor darling would 
get was one of apoplexy 



Once it was not so hot. 

Today chic clothes 

make champions 




76 



Photoplay Magazine — Auvektising Section 




At sixteen Jane Kendall excelled 

in riding and every sport. "Beauty 

and the Beast" this portrait zvith 

her Great Dane was called. 



At seventeen she siudu.: piii'.r.K-^ 

in Paris {for she is gijted as she 

is beautiful) — and prepared for 

her '^coming out'* festivities. 



At eighteen came her Washington 

debut in this Lanvin frock. They 

called her "the prettiest girl that 

ever entered the Ik'hite House." 



At nineteen her marriage to a dis- 
tinguished young New Yorker -ujas 
the outstanding event of the smart 
Washington season. 



" Ike Prettiest GlrL tkat ever etttered tke Wklte Hcaise''' 

Ma^. George Grant MaSon..^. 



JANE KENDALL MASON has not 
long left her teens, but her extra- 
ordinary beauty has already made her 
famous. "The prettiest girl that ever 
entered the White House" they called 
her when she made her dazzling debut 
in Washington. Soon followed her bril- 
liant marriage to a New Yorker of 
distinguished family. 

Clear-cut as a cameo is Mrs. Mason's 
pale blonde Botticelli beauty. Her 
purple pansy eyes are dark against her 
flawless skin, pale as a wood anemone. 
Gifted and interesting, she is always in 
demand. From her father's homes in 
Washington and Maryland to the gay 
diplomatic circles of Havana where her 
husband is an important figure, she 
flits like a butterfly, yet her complexion 
is ever exquisite. 

This perfection of her pale anemone 
skin she owes to the tour simple steps 
to beauty that so many lovely young 
moderns follow. "I've used Pond's 
Creams," she says, "ever since I can 
remember. 

"I dote on them! The Cold Cream 
is so light and pleasant — leaves the skin 
really clean and soft. The Vanishing 
Cream gives such a velvety surface for 
powder." 

Now Mrs. Mason finds Pond's two 
new products just as delightful. 

"The Cleansine Tissues are a lux- 



Pond's Tivo Creams, Skin Freshener and 
Cleansing Tissues compose Pond's famous 
Method, the sure way thousands of young 
moderns use to keep their skin always lovely. 




.M,, . Ulukol (jkaxt Maso.n, Jr., ■i.us Miss 
Jane Kendall, daughter of Mr. and Mrs. Lyrtian 
Kendall of If 'ashington, D. C. Since her brilliant 
debut her Botticelli beauty has been famous. Her 
flawless skin is delicate as a wood anemone. 




ury," she says. "They remove cold 
cream perfectly. And the Skin Fresh- 
ener gives your skin such a lovely 



USE POND'S Cold Cre-im for cleansing 
generously several times a day and 
every night, patting it over face and neck 
with upward, outward strokes. It soaks into 
the tiny apertures; softens and loosens the 
dust and dirt. 

With Pond's Cleansing Tissues, firm, 
ample, light as thistledown, wipe off the 
cream carrying the dust with it. 

Repeat these two steps until the tissues 
show no soil. 

If you are having a daytime cleansing a 
dash of the exhilarating Skin Freshener will 
tone and refresh your face. Apply it briskly. 
See how it livens and braces the complexion. 

Lastly, for the correct completion to per- 
fect grooming, apply just a shade of Pond's 
\'anishing Cream before you powder. It 
protects the skin, gives it fine-grained 
texture. 

Pond's four simple steps mean beauty. 

If it is possible that you have not used 
Pond's four delightful preparations, mail 
the coupon for a week's test supply. 

Mail the Coupon vcilh loi. for Pond's 
four preparations. 

I'on'd's Extract Company, Dept. N 
I '4 Hudson Street, New York City 

Name 



Street- 
City— 



Stare 

Copyright, 192S, Pond's Exrract Company 



When you write to advertisers please mention PllDTOPLAT MAGAZINE. 



Here Are Winners of $5,000 Contest 



[ CONTINUED PROM PAGE 42 ] 



fortunate enough to recei\'e, but regardless of 
the amount, it would no doubt be put to good 
use in my own home, as the Christmas season 
is near and I am positive it would make possible 
a very happy Christmas for the famih-, which 
consists of my husband and two sons." 

For the number of accurate solutions, the 
ingenuity of ideas and the neatness with 
which they were presented, this contest of 1928 
led all previous ones. 

To those who failed to win a prize Photo- 
PL.\Y says: "May 3'ou have better luck next 
time!" To the winners, Photopl.ay offers the 
heartiest congratulations. 

FIFTY DOLLAR PRIZES 

George Gle.-\son 

911 — 33rd Street, Galveston, Texas 

ISIrs. E. Scott Ferguson 

3330 West Franklin Street, Richmond, Va. 

!Mrs. Helen Smith 

79 Godwin Avenue, Paterson, N. J. . 

IMiss S.adie Xelsen 

603 East Lake Street, Minneapolis, Minn. 

Mrs. Edith K.mipel 

2920 Madison Rd., Cincinnati, Ohio 

Mrs. E. C. V.\n Pelt 

Marion, Ky. 

Mrs. W. R. Sshth 

1105 Cullom Street, Birmingham, Ala. 

M.\RY HARilON 

Frontenac, Minn. 

Emil Paulson 

569 South Race Street, Denver, Colo. 

Marad Serriou 
P. O. Box No. 801, Palo .\Ito, CaHf. 

1\Irs. G. Spillenaar 
618 \V. lUth Street, New York, X. Y. 



Mrs. Alice Barr 
617 W. MuUan Avenue, Waterloo, Iowa 

Miss Helene Speaker 

1812 Fairfield Avenue, Ft. Wayne, Indiana 

Hazel Dunham 

23 Euclid Avenue, Ludlow, Ky. 

Mary Ruth Moore 

1766 Meadowbrook Rd., Altadena, Calif. 

Mrs. a. M. Bentley 

371 Spring Street, Macon, Ga. 

Helen Marples 

3235^ Descanso Drive, Los Angeles, Calif. 

Sally Nicol 

1928 Kent Street, Los Angeles, Calif. 

Mrs. S. O. Neilson 

3001 Portland Avenue, Minneapolis, Minn. 

Miss Grace V. Trotter 

4232 Edmondson Avenue, Dallas, Texas 

TWENTY-FIVE DOLLAR PRIZES 

Dr. T. N. Visholm 

Lake Street CUnic, Minneapolis, Minn. 

Alma C. Morley 

15 Catherine St., Oswego, N. Y. 

]Mrs. Jack Wier 

Belton, South Carolina 

Nellie Conroy 

23 N. Thorpe, Kansas City, Kansas 

Captain Betty O'Neil 

2544 East Boulevard, Shaker Heights, Ohio 

Mrs. Jennie A. Taylor 

120 State Capitol, St. Paul, Minn. 

Mary O'Day 
1925 South 17th Street, Omaha, Neb. 

Kathryn Mlt-len 
126 North Cecilia Street, Sioux City, Iowa 



Mrs. Clint F. Overman 

c/o Block Brothers Department Store, 

Kenosha, Wis. 

Louise Axtell 

2900 Prospect Avenue, Kansas City, Mo. 

Mrs. S. I. Moore, 

402 Park .\ venue, Burlington, N. C. 

Mrs. D. B. Janes 

242 West Main Street, Jackson, Tenn. 

Grace Sheller 

1106 Dodge Street, Omaha, Neb. 

Clara Clark 

57 James Street, Maiden, Mass. 

Kathryn Pump 

1518 Granger Street, Saginaw, Mich. 

Alice Lee Sage 

1508 Burlew Street, Dallas, Texas 

Elizabeth Wayiian 

Ellsworth, Wis. 

Charles P. Ament 

57 State Street, Rochester, N. Y. 

Miss Marie A. Shapter 

821 Neil Avenue, Columbus, Ohio 

Miss Emma Gi^-ren 

1132J^ West 40th Place, Los Angeles, Calif. 

E. J. Myrose 

43 Real Estate and Law Bldg., Atlantic City, 

N.J. 

Mrs. R. J. M.WHER 

5118 — 41st .\ venue, S. E., Portland, Oregon 

Miss Melissa Weaver 

c/o The Roseville State Bank, Roseville, Ohio 

I\Irs. Dorothy McAuslin 

16 Phoenix Avenue, Waterbury, Conn. 

RiTTH Curry 
1100 Winfield Avenue, Topeka, Kansas 




A large storeroom was necessary in which to keep the thousands of solutions in this year's Cut-Puzzle Contest. 
Here is a section of the great mass after the judges had selected the first five prize winners 

7^ 



Photoplay Magazine — Advertising Section 



79 




P 






Her hair is oily 



She should use Packer's Pine Tar Shampoo 

If you have the kind of hair that loses its fiufEness shortly after 
shampooing, use Packer's Pine Tar Shampoo. This preparation is 
tonic and mildly astringent . . . approved by dermatologists. It 
leaves the hair fluffy, with a natural sparkle. Use it every four or 
five days at first; later every week or ten days may be enough. 

Her hair is dry 

She should use Packer's Olive Oil Shampoo 

Like all Packer soaps, this shampoo is a vegetable oil soap ... in 
addition, it contains a rich, soothing emollient (and nothing to dry 
the scalp). Dry scalps will never feel a stinging sensation when 
they use this special shampoo. Leaves your hair soft and silky to 
the touch— more manageable— and delicately perfumed. 

He has dandruff 

He should use Packer's Tar Soap 

. . . the soap that made pine tar famous for shampooing. Pine tar 
is antiseptic, healing, with properties valuable in the treatment of 
dandruff. Packer's Tar Soap is endorsed by dermatologists for 
skin and scalp. For noticeable dandruff use Packer's Tar Soap 
every few days until improvement begins. 





Select the shampoo your hair needs 



Acute cases of dryness, oiliness and dan- 
druff need the care of a dermatologist— a 
doctor who is a skin specialist. But nearly 
all scalps lend to be dry or oily, and many 
are mildly affected with dandruff. Now — 
each type of scalp can have the special 
shampoo which meets its particular needs. 
The coupon is for your convenience. The 
regular size of each shampoo is for sale 
at your drug or department store. 



Check Sample Desired 

For 10c enclosed send sample of 



PACKER s 



n Olive Oil Shampoo 
n Tar Shampoo 
n Tar Soap 



Packer Mfg. Co., Inc., Dcpt. 10 A, 101 West 
Thirty-first Street, New York City: Send me 
offer checked, with 28-page book on hair health. 



Name_ 



.\ddress_ 
City 



_State_ 



When you write to adverUsers please mention PHOTOPLAY MAGAZINE. 



Gossip of All the Studios 



[ CONTINUED FROM PAGE 49 ] 




done right well by him. He is one of those lucky lads who 
in\ested heavily — to the tune of $125,000, we are told — in 
Bank of Italy stock and got out just eleven days before 
the crash. 

ARISING young star, laden with letters, met 
Polly Moran on the M.-G.-M. lot. 
"See," said the r. y. s., "this is my daily fan 
mail." 

"I haven't been to get mine yet. Walk over 
to the post office with me," said Polly. At the 
window she said: 

"Come on, boys, don't hold out. Give me 
that postal card." 



The megaphone for 
directors goes on the 
shelf and earphones 
take its place. This 
picture shows the 
new technique of re- 
cording talkies. Roy 
Pomeroy is directing 
Evelyn Brent and 
Doris Kenyon in a 
scene from "Inter- 
ference." The 
microphone, over 
their heads, is just 
outside of the range 
of the camera 



In the talkies, the cutter must work on two films, 
the visual picture and the sound track record. Mer- 
rill White inspects a scene and its vocal accom- 
paniment for "Interference" 

80 



A NOTHER expression of Phyllis Haver's 
-'^■popularity. Recently she gave a rather large 
party, to which one hundred ninety guests were 
invited. The number of people that came 
slightly exceeded four hundred. Eddie Brand- 
statter was called on to furnish the third supply 
of food and there was enough for Grant's army 
to begin with. Did she say to them, "I am so 
happy to see you, I wish I had thought to invite 
you"? Not much, for Phyllis is not like that. 

P'OLLEEN MOORE and William Seiter were 
^^-'riding down Sun?et Blvd. As they passed 
Warners' studio, fearful sounds rent the air. 
Bill stopped the car and looked in every direction. 
"Drive on," said Colleen "they are merely 
making a Vitaphone insert." 

/"''WEN LEE has deiinitely broken her en- 
^■-'gagement with George Hill. Gwen is 
beautiful and attractive and a splendid dancer. 
Hill, once a cameraman, now a director, had no 
interest in the social life of Hollywood. He 
avoided parties and opening nights, which 
meant, of course, that Gwen avoided them, too. 
This should be great news to eligible young 
bachelors about town. 




In the air scenes for "Gold Braid" the record- 
ing apparatus was carried aloft by the planes. 
Ramon Novarro is holding the microphone 
that caught the roar of the motors 



CHARLIE CHAPLIN and Charles Furthman were driving 
along the boulevard in their respective cars. Being famous 
film folk they saw no reason why they shoiild not park double 
w'hile Chaplin went into a store to make a purchase. 

Upon his return he discovered a lordly cop standing over 
the car. 

■'Parking double! What's your name?" 

"Charles Chaplin," said the little comedian. 

The cop looked him over. "Maybe yes, maybe no. How can 
you be Charlie Chaplin? Where's your moustache?" 

Where are the stars of yesteryear? 
Where are the worshipped ones, and dear? 
Where are the old gods, fine and fair? 
Wait — don't answer me ! I don't care. 



R 



EMEMBER the old wheeze about what's in a name? 
Well, lend ear to this: 
Muni Weisenfrund, famous [ continued on page 86 ] 



Photoplay Magazine — Advertising Section 



8l 



After exposure — avoid ^Or*G I MT*0/lt" 



LISTERINE 




Checks it quickly 

because powerful 

against germs 



Sore throat is a danger signal 
of oncoming trouble — a cold 
or worse. 

It usually develops after sud- 
den changes in temperature 
or exposure to others in over- 
heated offices, germ-ridden 
railway trains, street cars and 
buses. Wet feet also encourage 
it. 

The moment your throat feels 
irritated, gargle with Listerine 
full strength. Sore throat is 
usually caused by germs — and 
Listerine full strength kills 
germs. 

For example, it kills even the 
virulent B. Typhosus (typhoid) 
and M. Aureus (pus) germs in 
15 seconds, as shown by re- 
peated laboratory tests. Yet it 
may be used full strength in 
any cavity of the body. Indeed, 
the safe antiseptic. 
The moment Listerine enters 
the mouth it attacks the dis- 
ease-producing bacteria that 
cause you trouble. And unless 
your sore throat is a symptom 
of some more serious disease, 
calling for the services of a 
physician, Listerine will check 
it in an amazingly short 
time. 

For your own protection, 

keep a bottle in home and 

office. It's an investment 

in health. Lambert Phar- 

macal Company, St. Louis, 

Mo., U. S. A. 





To escape a cold 



use Listerine 
this way: 



You can materially 
lessen tlic riwk of 
catching colds by 
rinHiiig the hands 
ivith Liistcrine bc- 
ftirc each meal, the 
way physicians do. 
The reaHon for this 
is obvious: 

Listerine attacks 
the germs of cold on 
the bands, thus 
reiidcrinR them 
hariiilcHs when they 
enter the mouth on 
foinl >vhi<-h hands 
have carried. Isn'^t 
this quick precau- 
tion worth taking? 



GREAT! 



men say. They're enthusiastic about Lis- 
terine Shaving Cream. You will be also 
when yiiu try it. So cool I So soothing! 

S\'hcn sou write to advertisers please mention PHOTOPLAT MAGAZINE. 



82 



Photoplay Magazine— Advertising Section 



Madge Bellamy, Fox star, 
in the quaintly charming 
bathroovi—one of the finest 
huilt in Hollywood — which 
so effectively combines richly 
veined marble with natural 
grained paneling. 

"The 'studio skin a star 
must have demands a soap 
that leaves the skin smooth as 
a rose-petal— and Lux Toilet 
Soap does!" 




I'lioto by L T liumson. Hollywood 



Photo by E. A. Bachrach. Hollywood 



The very next time you see tiny Olive Borden in a 
close-up, notice how exquisite Lux Toilet Soap keeps 
her slcin. " It's so important for my skin to have the 
smoothness wemean by'studioskin,' and Lux Toilet 
Soap is so splendid for it that I am dehghted with 
this daintily fragrant soap," she says. 



Mary Nolan, Universal star, gives such intelligent care 
to her beautiful skin, both at home and in her dressing 
room on location. "I am utterly enthusiastic about 
Lux Toilet Soap," she says. 

Lux Toilet 



Every advertisement In PHOTOPLAY MAGAZINE is Buaranteed. 



Photoplay Magazine — Advertising Section 



83 




B 



otkathomc 



and in their dressing rooms 

9 out of 10 screen stars 
use Lux Toilet Soap 



Photo by W- E. Tlionias. Hollywood 

Irene Rich, in the bathroom built in Holly- 
wood to combine classic luxury with modern 
charm. "Lux Toilet Soap gives the skin as 
beautiful a smoothness as the famous French 
soaps do," she says. 



EVERY GIRL knows how at- 
tractive she IS when her 
skin is really lovely. 

Experience has taught movie 
directors that an exquisite skin gets 
an immediate response from people. 

"Smooth skin is the first essen- 
tial of charm," says Paul Leni, 
director for Universal. "To become 
— and remain — a popular screen 



star, a girl must have a skin so flaw- 
lessly smooth that even in the glare 
of the close-up it is perfect." 

Of the 451 important actresses 
in Hollywood, 442 are devoted to 
Lux Toilet Soap because it keeps 
the skin so smooth and soft. And 
all the great film studios have made 
it the official soap for all dressing 
rooms. You, too, will be delighted 
with this white fragrant soap. 





photo by W. E. Thomas, Hollywood 

Phyllis Haver, Pathe star— "Lux Toilet Soap leaves my skin so gently 
smooth that I have no fear of the high-powered lights of the close-up." 



"Under the new incandescent 'sun- 
spot' lights a star's s!:in must show 
flawlessly smooth," says Seena Owen. 



Soap 



Luxury such as you have found only In French soaps 
at joc and $1.00 the cake — Now 

When you write to advertisers pkase mention PHOTOPLAY MAGAZINE. 



lOc 



84 



Photoplay Magazine — Advertising Section 



Helena Rubmstein. Cosmetics 
Proclaim tlie Artist! 




Mme. Helena Rubinstein 
World-Renowned Beauty Specialist 

For color, for texture, for 
staying quality, for whole- 
someness, the cosmetic 
creations of Helena Rubin- 
stein are unquestionably 
the finest in the world. 

The Basis of a Chic 



Beforeyou apply your finishing touches, 
cleanse the skin with Valaze Pasteurized 
Face Cream — the soothing, revitalizing, 

Erotective cream. Ic molds the skin in 
eauty (1.00). Valaze Beauty Founda- 
tion Cream makes rouge and powder 
doubly adherent, doubly flattering. An 
ideal powder foundation (1.00, 2.00). 
Now your skin is ready for — 

A Powder Masterpiece 

Valaze Powder. Clinging, exquisitely 
textured, subtly fragrant. In a rich 
variety of smart and enhancing shades, 
Novena for dry skin. Fia/^ze for average 
and oily skin. 1.50, 3.00. 

It is essential that you visit Helena Rubinstein's 
Salons at this trying time of year, so that your 
beauty may present a harmony of perfection — skin, 
contour, eyes, hands and hair all exquisite. Here 
you -wili receive the last -word in scientific beauty 
treatments and expert guidance on home treatments 
and make-up. 



THE secret of a successful facial ensemble? . . . Make-up that 
is as perfect in texture as in color . . . lipstick that lends satin 
smoothness as well as luscious tone . . . rouge you can blend with 
ease . . . powder so gossamer it becomes one with the skin . . . 

Such are the cosmetics of Helena Rubinstein. For they are the 
creation of one who is artist as well as scientist . . . one who for 
years has divided her life between laboratory and atelier . . . study- 
ing constantly to bless all women with the wondrous coloring of 
immortal beauties. 

When you touch the new Cubist Lipstick to your lips, when you 
bring the glow of Red Raspberry Rouge to your cheeks, when you 
clothe your skin with the gentle fragrant radiance that is Valaze 
Powder, then you realize the magic that lies in make-up. 



Beautiful Eyes 

Accent the Beauty of Your Eyes with 
Valaze Persian Eye-Black (Mascara) — 
instantly darkens the eyelashes giving 
them an effea of silky, soft luxuriance. 
Wonderfully adherent, yet does not 
leave lashes stiff or brittle. 1.00, 1.50. 

Valaze Eye Shadow [Compact or Cream 
in black, brown, green or blue] 1.00. 

Valaze Eyelash Grower and Darkener 
promotes luxuriant growth of lashes 
and brows. 1.00, 1.50. 



Valaze Rouges (compact or en creme) 
impart a luscious bloom that actually 
protects the skin! For daytime you will 
choose gay piquant youthful Red Rasp- 
berry and for evening, Red Geranium, 
the vivid, the provocative. For the con- 
servative woman there is the subtle 
Crushed Rose Leaves 1.00. 



The 



lagic 



Cubist Lipstick — Helena Rubinstein's 
newest cosmetic creation. Brings to the 
lips a softness, lustre and beauty rivalled 
only by the rare loveliness of its color- 
ing. In two enchanting shades. Red 
Raspberry for day and Red Geranium 
for evening. To be chic one must have 
both. Smart, enameled cases, Golden 
or Black, 1.00. 



are masterpieces of the jeweler's craft! 
Enameled inJetBlack, ChineseRed,Jade 
Green or Golden. Double compact 
2.50, Golden 3.00, Single Compact 
2.00, Golden 2.50. 



Cleanse with Valaze Pasteurized Face 
Cream (1.00). Clear, refine and animate 
the skin with Valaze Beautifying Skin- 
food — Helena Rubinstein's skin-clear- 
ing masterpiece (1.00). Brace the tissues 
and tighten the pores with Valaze Skin- 
toning Lotion (1.25). Complete treat- 
ment — a two months' supply — with 
detailed instructions (3.50.) 

If there are blackheads, conspicuous 
pores, wash the skin with Valaze Black- 
head and Open Pore Paste Special 
(1.00). This unique preparation gently 
penetrates the pores, ridding them of 
all impurities. Use instead of soap. 



LONDON 



JSdma /fldinjiem 



PARIS 



Ai 



8 East 57th Street, New York 
Philadelphia, 254 South I6th St. 670 N. Michigan Ave., Chicago 



Boston, 234 Boylston Street 



951 Broad Street, Newark 



Cosmetic and home-treatment creations of Helena Rubinsleh) are obtainable 
at the better shops, or direct from the Salons 



Every .-.dvenlscment in PHOTOPLAY IIAGAZINE 13 guaranteed. 



QUESTIONS ef ANSWERS 



Read This Before 
Asking ilyestions 

You do not have to be a 
reader of Photoplay to have 
questions answered in this De- 
partment. It is only necessary 
that you avoid questions that 
would call for unduly long an- 
swers, such as synopses of plays 
or casts. Do not inquire con- 
cerning religion, scenario writ- 
ing, or studio employment. 
Write on only one side of the 
paper. Sign your full name and 
address: only initials will be 
published if requested. 




Casts and Addresses 

As these often take up much 
space and are not always of in- 
terest to others than the in- 
quirer, we have found it neces- 
sary to treat such subjects in a 
different way than other ques- 
tions. For this kind of informa- 
tion, a stamped, addressed 
envelope must be sent. It is 
imperative that these rules be 
complied with in order to insure 
your receiving the information 
you want. Address ail inquiries 
to Questions and Answers, 
Photoplay Magazine, 221 W. 
57th St., New York City. 



A. A. LtJDER, Germantown, Pa. — Glad to 
ansvyer your questions about The Shadow 
Stage. The pictures are reviewed by both men 
and women and do not represent the opinion 
of one person. They are seen by several mem- 
bers of Photoplay's re\-iewing staff. Most of 
the pictures are seen at pre-views either in 
New York or Los Angeles. The amount of 
money spent on a production does not influence 
the reviewers. Entertainment value is the 
chief consideration; good acting and unusual 
direction are other points that place a picture 
in the "Six Best." But the principal test is 
simply this: Is the picture worth the time and 
money of Photoplay's readers? Thank you 
for your interest. 

TiLLiE THE Toiler, Oswego, N. Y. — I have 
no wife; and if I h(ni a wife, her name would 
nol be Buttercup. As for that "most beautiful 
bozo on the screen," Johnny Mack Brown, his 
next picture is "The Little Angel," which 
doesn't fit in with John's sLx foot figure. You're 
not Irish, are you? 

C. A. J., Easton, Pa.— "Craig's 'Wife" 
wasn't released until Sept. 16, 1928. It must 
have been someone else's wife that you saw in 
Bethlehem two years ago. Lon Chaney's new- 
est is "West of Zanzibar," which might or 
might not be " Kongo." Banned stories have a 
way of slipping by under another title, as 
witness " Sadie Thompson " and " A Woman of 
.'\ffairs." Emil Janning's next is "The 
Feeder " 

Mrs. Irene Wellot, Torrence, Calif. — 
By film cutting is meant the elimination of 
superfluous scenes, duplicate "takes" and un- 
satisfactory "shots." Sometimes several hun- 
dred thousand feet of film is exposed to 
obtain the seven or eight thousand feet of the 
finished picture. The business of picking the 
best scenes and building them into dramatic 
sequence is quite a job. The average salary of 
an "extra" is seven dollars and a half a day. 
But an "extra" who gets three days' work a 
week is in luck. I know of no such juvenile 
Home in Hollywood. The Studio Club is, a 
home for girls, but it is not limited to girls 
under eighteen, nor are the regulations as 
strict as those you mention. Gwen Lee's real 
name is Le Pinski and she was born in Hast- 
ings, Neb. Jacqueline Logan is a native of 
Corsicana, Tex. Hope you win your sub- 
scription. 

L. S. C, Chicago, III. — Your friend wins 
the bet. Antonio Moreno is Spanish, not 
Italian. He was born in Madrid, forty years 
ago. 

M. K., New York, N. Y. — Gloria Swanson, 
not Dolores Del Rio, played in "The Loves of 
Sunya." Dolores is twenty-three years old, 
five feet, four and one-half inches tall and 
weighs 120 pounds. 



Just Another Blond, Chicago, III. — 
Woof, yourself! Also Grrrr right back at you! 
Don't bother your head about all those Lind- 
Ijcrgh matrimonial rumCirs. The newspapers 
just must find something to write about Lindy. 
Don't know where Joyce Compton is at present. 
Warren Burke was the boy who played in 
"Roadhouse." Write to Anders Randolf at 
the Tiffany Studios, 4516 Sunset Blvd., Holly- 
wood, Calif. 

Marion B. — Mary Philbin was about fifteen 
years old when she first went into the movies. 
She has brown hair. Mary is an American by 
birth, but her ancestors were Irish. Most of 
the actresses on the screen were poor girls. In 
fact, most of the rich girls who have tried the 
movies have been flops. 



AND still the questions about 
Nils Asther come bouncing 
to the desk of the Answer Man. 
Mr. Asther is twenty-six years 
old, and has brown hair and 
ha:el eyes. 

Next in the Seven Most Per- 
sistent Questions of the Month 
is Joan Crawford. Joan has red- 
brown hair and blue eyes. 

Where did the rumor start 
that William Boyd has gray 
hair? Bill's hair is light brown. 

Richard Arlen is twenty-nine 
years old, has brown hair and 
blue eyes, and weighs 155 
pounds. 

Gary Cooper is American, not 
English. Born in Helena, Mon- 
tana, twenty-seven years ago. 

Evelyn Brent is twenty-nine 
years old and divorced from 
B. P. Fineman. 

Clara Bow is five feet, three 
and one-half inches tall and 
weighs 115 pounds. Her next 
picture will be "The Saturday 
Night Kid." 

In writing to the stars for 
photographs, PHOTOPLAY ad- 
vises you to enclose twenty-five 
cents, to cover the cost of the 
picture and postage. The stars, 
who receive hundreds of such 
requests, cannot afford to com- 
ply with them unless you do 
your share. 



R. H. G., III. — I should think it would be 
practical to install a talkie outfit in your town. 
Write to any of the motion picture companies 
for the cost of the installation and terms of the 
service. I can't give the information in these 
columns. 

S. C, M. S., E. McC, Savannah, Ga.— I 
don't know why Colleen Moore doesn't curl her 
hair. Perhaps she thinks that her straight, 
Dutch bob is distinctive. But here, Colleen, 
are three girls who want to know how you would 
look with a finger wave. 

Happy, Sandy, Utah. — W'rite to Ray E. 
Harris of the Wallace Reid Memorial Club 
about obtaining a picture of Wallace Reid. 
Mr. Harris' address is 3625 R. Street N. W., 
Washington, D. C. Thomas Meighan has 
dark hair and blue eyes. He weighs 180 
pounds and is 49 years old. William Haines 
has black hair and brown eyes. Mary Pick- 
ford has golden hair and hazel eyes. 

J. C, Sioux City, Iowa. — If you will write 
to Adela Rogers St. Johns in care of Photoplay 
Magazine, 221 West 57th Street, New York,' 
your letter will be forwarded to her. And it 

is "Mrs." 

E. O., New York, N. Y. — "Fascinating 
Youth" was Charles Rogers' first picture and 
twi the same as "Red Lips." "Red Lips" was 
reviewed in the May, 1928, Photoplay under 
its original title, "Cream of the Earth." 

H. P. F., Cannelton, Ind. — Richard Bar- 
thehness is thirty-one years old and was mar- 
ried to Mrs. Jessica Sargent April 20, 1928. 
He's five feet, seven inches tall and has brown 
eyes. Write to him at the First National 
Studios, Burbank, Calif. 

A. G. B., Paris, Tex. — Well, since you don't 
care whether he is single, married or divorced, 
I'll tell you that Ronald Cohnan is neither 
single, married nor divorced. He's separated 
from Thelma Raye, who lives in England. 
Ronald isn't leaving the screen; you'll see him 
next in "The Rescue," with Lily Damita as 
his leading woman. 

F. C, Auburn, Me. — James Hall and Dick 
Barthelmess related? Positively no! 

R. A. H., New York, N. Y.— BiUie Dove is 
twenty-five years old and has dark brown hair 
and dark brown eyes. She is five feet, five 
inches tall and weighs 114 pounds. Single- 
minded woman! 

E, M. L., New Iberia, La. — Elaine Ham- 
merstein and William Haines played in "The 
Midnight Express." Jack Mulhall is thirty- 
seven years old and his pretty wife is Evelyn 
Winans — not in the movies. 

( continued on page 102 ] 

85 



Gossip of All the Studios 



[ CONTINUED FROM PAGE 80 ] 



Yiddish character actor, is now under contract 
to Fox. Of course a moniker such as Muni 
Weisenfrund would be ridiculous on the screen, 
so studio executives went into a huddle and 
decided to call him Muni Wise. One executive 
filed a minority vote, however, claiming that 
the public would quickly change this to Money 
\\'ise. Bad psychology, he said. So now they 
call him Paul Muni. 

NICK STUART and Sue Carol have had 
great fun making "Chasing Through 
Europe." Night after night Sue and Nick 
rode up and down the canals of Venice, in the 
most romantic-looking gondolas they could 
hire. WTien Director Dave Butler would take 
them to task for being la^e next morning, their 
response would be; 



i 




.P| 



Two exercises, posed by Mary 
Doran, that should be part of 
every daily dozen. In this exer- 
cise, first one leg is brought for- 
ward, then the other; and then 
both together, so that you reach 
this position 

"We rehearsed our lo\e scenes until 
quite late last night." 

TOM TYLER calls our atten- 
tion to the fact that a number 
of couples who spent their first 
honeymoon on the beach are 
spending their second on the 
rocks 

T ILY D.\MIT.\ speaks English with 
■'-' a delightful French accent. Some of 
her friends are teaching her the latest 
slang. 

8G 



The course is just one long sand trap in this game of beach 
golf. It's a new gag now adding interest to the scenery along 
Santa Monica beach. The players are Raquel Torres, about 
to sink a put; Dorothy Janis, holding the flag; and Mary 
Doran, waiting her turn 




She rattles the words off glibly, but 
with Uttle idea of their meaning. We 
suggested that she have Mr. Goldwyn 
pass on them, as we wouldn't like 
to guarantee that they are all "cor- 
rect as hell" . . . this last expression 
being one of the number she knows. 



LILY'S mother is in Paris selling her 
daughter's two establishments. Tha.t 
leaves poor Httle Lily all alone at the Roosevelt 
Hotel to battle cruel Hollywood without a 
mother's guiding hand. 



I 




F you can't find Lily and Mrs. Sam Goldwyn 
in the usual places you can look for them at 
an ice cream parlor, where LUy sneaks 
away to indulge in the forbidden sweets. 

A WELL-KNOWN actor 
had played the famous 
Afro-American game of craps 
for eight consecutive hours. 
The toaees of his trousers 
showed wear. When his wife 
questioned him he answered, 
"I was out with Al Jolson 
singing 'Mammy.' " 

WHEN Lupe Velez and William 
Boyd were playing together in 
"The Love Song," Boyd's wife, Elinor 
Faire, spent most of her spare time on the 
set. It may have been that she was 
interested in the production and then., 
again, it may have been that Boyd 
brought her along for protection 
against the fiery Velez. 

[ CONTINUED ON PAGE 88 ] 



The first exercise helps to keep 
the legs slender but shapely. 
This one is your old favorite of 
touching the floor with your 
hands. Only most people cheat 
and bend their knees. And 
that's no way of getting thin 



Photoplay Magazine — Advertising Section 



87 



*1 light a Lucky and go 
light on the sweets* 

That's how I keep in good 
shape and always feel peppy. *^ 





Al Jolson 

Famous comedian 
and star of song. 



Reach for 

a Lucky 
instead of ^ 

a sweet. 



Al Jolson 

as he appears in 
Warner Bros. 
Vitaphone suc- 
cess, "The Sing- 
ing Fool." 




SOMETHING sensible. "Better to 
light a Lucky whenever you crave 
sweets." It brings to men the health and 
vigor that come with avoiding over- 
weight. To women it offers a slender, 
fashionable figure. And all it means is 
a few puffs of a Lucky Strike when you 
are tempted. 

20,679 physicians have stated that 
Lucky Strike is less irritating to the 
throat than other cigarettes. Very likely 
this is due to toasting which removes 
impurities. This same process, toasting, 
improves and develops the flavor of the 
world' s finest tobaccos. This means that 
there is a flavor in Luckies which is a 
delightful alternative for the things that 
make you fat. That's why "It's Toasted" 
is your assurance that there's real health 
in Luckies — they're good for you ! 

Keep fit — reach for a Lucky instead of a 
sweet. That's what many men have been 
doing for years. They know the evidence 
of prominent athletes whose favorite 
cigarette is Lucky Strike and who say 
Luckies do not harm the wind nor im- 
pair the physical condition. 

Why not give it a trial ? The next time 
you are tempted to eat between meals 
or crave sweets, go light — light up a Lucky 
instead. 



It's toasted 

No Throat Irritation - No Cough. 



) 1928, The American Tobacco Co.. Manufacturers 



Whon you write to ajvertlsers please mention PHOTOPLAY MAGAZINB. 



Gossip of All the Studios 



CONTINUED FROM PAGE 86 ] 



A FEW months ago Harry Crocker opened a 
motion picture museum in Hollywood. 
He will close it January 1st. 

The biggest day's business was $7.00. 

One woman drove up to the place in a fine 
big car with a chauffeur, stepped out with two 
friends to visit the museum, but became abso- 
lutely horror-stiicken when told that the price 
of admission was twenty-five cents. "Oh, 
my land," she said, "we're just out for a drive 
and we thought it was free." 

Somebody said to Harry, "It seems a pity, 
Mr. Crocker, that Hollywood won't support 
a venture as fine and clean as this." "I 
guess that's what's the matter w-ith it," replied 
Mr. Crocker, rather sadly. 

THE kitchen in the restaurant at the M.-G.- 
M. studio caught fire a short time ago and 
half a dozen fire engines dashed into the studio 
in response to the alarm. Hose was laid, asbestos 




International Newsreel 

When three little girls from Brooklyn f;iced the camera 
together for the first time. The baby in the center is Con- 
stance Talmadge. At the right is Norma, then five years 
old. And at the left is Natalie Talmadge Keaton, three 
years old 



When we were very young. 
At the age of three months, 
Mary Brian was not Mary 
Brian of Hollywood. She 
was little Louise Dantzler, 
just one of the neighbor's 
children in Corsicana, Texas 



m 




fARY PICKFORD and 
•-Douglas Fairbanks jour- 
neyed to Washington tosettle a little 
argument with Uncle Sam about 
their income tax. This unpleasant- 
ness over, President CooUdge invited 
them to luncheon. 

When you get in trouble with your in- 
come tax, does the President ask you in 
for a meal? This httle incident only 
proves once more that it's great to be a 
movie star. 

MILTON SILLS is wearing an atrocious 
beard while playing in "Changeling." As 
a result, he has let himself in for a lot of good- 
natured ridicule. Even his wife pokes fun 
at him. When Doris bobbed her hair, she 
carefully wrapped that portion which was cut 
off and mailed it to Milton with the inscrip- 
tion, "For bigger and better beards." 

ACCORDING to a Poverty Row 
"fillum magnet," an author is a 
"fellah with a good remembery." 



X_rEADLINES in Los Angeles 
-•- ■^-announced the arrival of Wm. J. 
noted novelist, as follows: 
W. J. LOCKE, 65 

LOOKS 45, HERE 

AS FILM WRITER 

[ CONTINUED ON PAGE 103 ] 



papers 
Locke, 



blankets were jerked out of fire trucks and 
extinguishers were rushed to the scene, but 
the chief of each company had his own idea of 
how to extinguish the flames. 

They all stood on the roof of the burning 
building, arguing on how to proceed. 

"WeU," said W. S. Van Dyke, M.-G.-M.'s 
traveling director, as he watched the row, 
"looks like another story conference!" 

LAURA LA PLANTE pulled a fast one on 
Universal this week. It seems their contract 
with her makes allowance for a few weeks' 
lay-off in the year. She had just finished "Show 
Boat," and was scheduled to begin "The 
Haunted Lady" very shortly. She was all 
primed for wardrobe fittings for the new 
picture, when notice came th^-t she could have 
two weeks' vacation. Nothing pleased Laura 
npre. A few hours later she had chartered an 
airplane and was on her way to New York. 

This was the last thing Universal had ex- 
pected, as their plans, it appears, had been for 

88 



a lay-off, without pay, with Laura 
standing hours every day for 
fittings. 

I was faithful without 
swerving. 
Norma, since your star 
was bom! 
Then you up and mar- 
ried Irving! 
You the Shearer — 
I the shorn. 



Cecil De Mille, with his big 
brother, William. Cecil is 
the four-year-old lad with 
the curls and the flowers, 
and William, aged eight, is 
holding the dog 



Photoplay Magazine — Advertising Section 

"The Shady Lady 

A New Pathe Production 
Featuring 

PHYLLIS HAVER 



89 



See Phyllis Haver at her best in this new Pathe 
production. Note in particular her marvelous 
skin — how well it shows up in the picture. 

Then read below how she cares for that 
skin — with Boncilla. Many a star on the stage 
and screen could tell a similar story. Fo'r the 
women whose careers depend on charm and 
beauty do not omit this supreme aid. 



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PHYLLIS HAVER, Pathe Star, 10 ''The Shady Lady" 




PHYLLIS HAVER 

Preparing for "The Shady Lady" 

The first step in preparing for a pic- 
ture is Boncilla clasniic pack. That 
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rosy glow and an animateci look. When 
that is removed, Boncilla Cold Cream 
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desired. 

PHYLLIS HAVER 5^>i.- 

*'I use Boncilla regularly. With all the 
arduous location sets we have to make, 
the exposure of the skin to all ele- 
ments, the constant use of cold cream 
and greasy paints, Boncilla keeps my 
skin soft and velvety." 



The Pretty Lady 

Prepare for ICour Part --Tonight 



ROMAN'S great part in social spheres 
. is to play The Pretty Lady. The 
best way to prepare is the same as for 
stage parts. The rewards are the same — 
success and applause. 

Don't depend alone on cosmetics. 
Before them must come the right foun- 
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Before the make-up use this wake-up — • 
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All in 30 Minutes 

Prepare in this way for a social evening 
when you wish to look your best. It will 
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Apply Boncilla clasmic pack to the 
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hardened oil. It is removing the causes 
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Old make-up is absorbed. At the same 
time, the blood is drawn to the surface 
to nourish and revive the skin. When 



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In 30 minutes you will see results which 
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And there is no other way. Boncilla is 
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effective that beauty experts the world 
over import it as their leading beauty 
aid. No girl or woman can afford to 
sacrifice the charm which Boncilla 
brings. Never will YOU do so when you 
know it. 



Four for loc 



Boncilla clasmic pack is sold at all 
toilet counters in jars for S3. 50 and $1.50 
and in tubes for SI .00. Or the coupon, 
with 10c for mailing, will bring you a 
one-week test. With it will come the 
two creams and the powder which go 
with it. A box of beauty, just for mail- 
ing cost. Clip coupon now. 



For Cheeks 
Like Roses 




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ONE-WEEK TEST 

BONCILLA— Indianapolis. Ind. 

Mail me a one-week treatment of Boncilla with the three 
helps which go with it — four samples. I enclose a dime. 



Name 



Address . 



L. 



If you live in Canada, mail coupon with 10c to Canadian 
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J 



Whco jou write to advertlsel^ please mention rnilTOPLJlT MAGAZINia 



The Studio Murder Mystery 



I COXTIN'UEU KROM PAGE 39 1 



dried up wisp of a man in rough clothing. 
Over the latter's shoulder, suspended on a 
heavy string, hung a circular machine, which 
identified the man immediately as the night 
watchman. Lannigan. for it was he, stood 
with his sharp little eyes peering monkej'wise 
from Rosenthal to Smith. The president 
motioned him to a chair, and he sat down, 
plainly overcome at being admitted, and seated 
in the holy of holies. At Captain Smith's 
words, however, his shifting glances came to 
rest steadily upon his questioner. 

"You "re Lannigan?" 

"Yissor. Patrick Lannigan." 

"You are the night watchman of this studio?" 

Lannigan straightened his bony shoulders, 
and there was an air of truculency in his man- 
ner as he replied, 

"I am thot!" 

"Is that the time clock you used last night, 
on your back?" 

"CURE, it's the wan I always use. Yis, it's 
•^me time clock. . . ." 

"Can you open it and take out the tape?" 

"That I cannot. 'Tis the head fireman who 
does that." 

"All right. Clancy, take that clock over 
and have it opened. Bring back the 
record." 

As Clancy reached for the clock, Lannigan 
swung himself away. His face instantly took 
on that expression so typical of his sort ... a 
sullen, closed look. Smith saw he was to have 
trouble prying anything out of this man. 
Neither would it do any good to tell him 
"poHce business." That would only seal liis 
hps the tighter. His kind had an instinctive 
and instant resentment of the law. 

" Lannigan !" spoke the president of Superior 
Films sharply, "I vish you to give your clock to 
thatofificerl" 

"Oh . . . and an officer, is it now?" said 
Lannigan, with drawling sarcasm. 

"I vish, also that you answer what questions 
Mr. Smith vill ask you. He is Captain of 
Detectives," added Rosenthal sternly. But 
this announcement made no apparent im- 
pression on the little Irishman. He only 
darted one of his swift bright glances at Smith, 
and his long upper Kp tucked down tighter 
over his nether one. 

"I'll be answering no questions till yez tell 
me why the likes of him is after taking me 
clock away, and what for I am hauled out of 
me bed to come here this rime o' day!" 

Rosenthal started to speak, but Smith held 
up his hand, silenc- 
ing him. It would 
take tact to handle 
this belligerent little 
Irishman . . . not 
bulldozing. 

" Lannigan, get 
this straight. I don't 
beheve you haveany- 
thing to do with this 
matter . . . with the 
reason why I am out 
here. But I do be- 
lieve you can help 
me a lot! A detec- 
tive, Lannigan, is at 
the mercy of the 
people he questions. 
You could tell me a 
long string of things 
that didn't happen 
at all, and it would 
cause me a lot of 
time and trouble to 
get the truth of it. 
I'd get it. Never 
fear that. But it 



would considerably inconvenience me. I don't 
think you want to do that, do you?" 

Lannigan did not answer. It was evident it 
made no difference to him how much he incon- 
venienced the detective. Smith continued to 
look pleasantly at the man, tapping his chair 
arm thoughtfully with his pencil, his little red 
notebook open on his knee. Musingly, his 
eyes went down to it. Then, when he looked 
up there was a quickened e.xpression in them. 

"Lannigan, I'\e always wanted to hear a 
banshee. Did you ever hear one?" 

The watchman looked at him searchingly, 
quick to detect if the other was poking fun at 
him. He found only serious and sincere 
curiosity in Smith's face. For a moment he 
struggled with the resolution to keep silence, 
then, as if to burst involuntarily from him, 
came the statement, in a lowered voice, 

"Well, sor, and what would you think if I 
was to tell you I've heard one meself?" 

"I'd believe you, Lannigan. Where was it 
you heard it?" 

"On this very lot, sor. So late as last night, 
sor!" 

"Hm ... I thought so," mused Smith. 
"I've heard that sound described many times, 
Lannigan, but ne\-er by a person who'd heard 
one so recently as you say you have. I'd 
appreciate your telling me what it was like." 

"There's nothing hke it, sor, except maybe 
the scream of a woman scared half out o' her 
wits ... or maybe the yowl of a domn cat. 
It fair raises the hair on yer head, sor!" 

"I . . . thought so . . ." 
murmured the detective again. 
Then, "Lannigan, what time 
did you hear the banshee?" 

"Well, it must have been 
around 12:30 this mornin'. I 
had just started on me 12:30 
round. I usually ends me 




Jimmy, the office boy, worshipped Billie West. Billy was a 
war ace and he had killed the enemy from the air. He was a 
being set apart. But today Jimmy failed to note West's 
approach, as he sat hunched strangely in a chair behind the 
rail which divided the privileged from the unprivileged in 
Rosenthal's office. "I promised not to tell anyone," Jimmy 
whispered . . . "Hardell's murdered on Stage Six. I . . . 
kicked him!" 



round at Stage Six on the hour, sor, but this 
time I struck straight across the lawn, and 
over to Stage Six first, to see what ailed the 
light at the East entrance, which had wint out 
the round before. ... I found 'twas a burnt 
out globe. So I straightway turns back to the 
store room to get a new one. Just as I reached 
the end of Stage Six, I heard the banshee." 

" A ND you're sure it was 12:30?" 

-'*■ "Yis sor, but more likely it was 12:40. 

An\'ways, it was not beyond that time, fer I 

had just come back from me lunch across from 

the studio, which same I wint over to eat right 

after Seibert and Hardell left the lot, which 

same time was at 12:17. . . ." 

"How do you know that?" 

"By me clock, sor. I laid it by whin I wint 

to eat, it bein' heavy and in the way. When 

I laid it down I glanced at it like I always do, 

sor." 

"Lannigan, how are your rounds scheduled?" 

"I leaves the gate, where I starts, on the 

half-hour. I goes straight around, and makes 

it back to Stage Six by the hour. Then I cuts 

straight back to the gate, and chats a bit with 

MacDougal. Usually, though, sor, me time 

between is taken up doin' odd jobs about, so 

that me time at the different stages isn't always 

the same. Sometime? I makes it right on 

schedule, and sometimes I 

don't." 

"What kind of odd 
jobs, Lannigan?" 

"Oh, pickin' up after 
them domn spalpeens . . ." 
he stopped to shoot a de- 
fiant look at RosenthaL 
"Begging yer pardon, sor 
. . . but they do be domned 
careless. Some of thim 
leaves lights in their 
dressing rooms and offices. 
Electric fans goin' in the 
sununer, and electric heat- 
ers in the winter. And, 
would yez believe it or not, 
many's the time I have 
to shut off the faucets in 
the lavatories. ..." 

"Yes, yes, I under- 
stand, Lannigan. 
Some people are very 
careless. Now, I 
want you to tell me 
exactly what hap- 
pened on this lot 
last night, from the 
time you came on 
until you left." 

"May I ask, sor, 
what it's all about?" 
"I'U tell you later. 
It was a nasty night 
out here, and plenty 
of opportunity for 
things to happen . . ." 
"It was a grand 
night for a murther, 
sor, as I told Mac- 
Dougal!" 

Smith laughed. 
"You said that, 
did you Lannigan?" 
"I did, sor, and I 
meant it!" 

Smith checked a 
desire to banter 
further with the little 
man. He sat back, 
and composed him- 
self to hsten. Lan^ 

[ CONTINUED ON 
PAGE 115 ] 



90 



Photoplay Magazine — Advertising Section 



91 





Marffo/ Lanilbcrg 
hv North n, 

Slockhoim, Sttcdcn 



WHY NOT 
HAVE 

uoit can jifdt Aeiid for 

M A P^G O T L A N D B E r^G '^ /3i'ar///ll'e 
— // mk tjmi //mi' 

BY Anna Q. Ni ls$ o n 

Like so many women from the North, I have a 
most delicate complexion. I have to use the ut- 
most care in the way I treat it. 

Imagine my joy, then, when Margot Landherg, 
my fellow-country-woman, demonstrated for me her 
marvellous beauty invention, her controlled water- 
massage! Morning Dew — the perfect treatment for a 
woman's skin! It is exactly wh^t I needed, and today 
is certainly one of my most precious possessions. 

I think Margot Landherg kno\vs more about sci- 
cntific beauty-culture than anybody in the world. 
What knowledge, what patience, what feminine wis- 
dom has gone into the making of this wonderful 
little machine of hers ! 

Send for her beautiful booklet, The English 
Complexion. It will tell you all about it, explain 
everything. It is full of priceless words of wisdom 

MrfilY-i,. I for women who want to be 

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]ust use the roiifion below; that is all. It will bring you 
the brochure, "The English Complexion, how to 
11 AVE IT. HOW TO KEEP IT." This brochure is illustrated 
in'color and quite complete. Send the coupon to Margot 
Landberg. 1 East S3rd Street, Neiu York City. 





Please send me yo 
E.NCLISH CoMPLE.xioN." This is without 



ur booklet, 
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to me. 



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•^Tien you write to advertisers please mention PTT0T0PI..4T MAGAZINE. 



The Shadow Stage 



[ CONTINUED FROM PAGE 55 ] 



THE LEGEND OF GOCTA BERLING- 
Swedish Biograph 

THIS was the only European film appearance 
of Greta Garbo before she was sold down 
the river to Hollywood. Moreover, it was 
directed by the brilliant Mauritz Stiller, who 
discovered her. It need only be said that 
Hollywood has made the Glamorous One. In 
this picture she photographs execrabl}', and 
acts like an anemic clam. Stiller work is in 
evidence, and there is a good performance by 
Lars Hanson. You won't die in vain even if 
you miss this one. 

SINNERS' PARADE^Columbia 

A\'ERV smart picture of modern life in 
wliich we have flappers and reformers and 
bootleggers and cabarets and cops and the 
ritzy part of the underworld. The picture is 
well cast, with Dorothy Reviere and Victor 
Varconi in the principal parts. John Adolphi's 
direction is flawless. The story goes as follows : 
A high school teacher, forced to care for a Maj-- 
ward sister, works daytimes at school and 
nighttimes in a night club. The mother of one 
of her pupils is a reformer and sets out to clean 
up the night clubs. This brings complications. 
And such comphcations! The lady reformer's 
daughter is discovered as one of the club's 
drunkards, while her son is the power behind 
the rum ring. An O. Henry finish ends the story ! 

SILENT SHELDON— Rayart 

MOST Westerns are quite irritating, but 
this one isn't, probably because it makes 
no obvious attempt to set the world on fire. It 
ambles along most amiably, through the most 
palatable plot in the horse-opera category. A 
rich young sportsman from New York goes 
West to puU his father's ranch together. The 
villainous foreman objects, and the hero falls 
into all the trouble in the world — including 
love. Starlight and a cute collie furnish the 
animal relief. 

KING COWBOY—FBO 

THIS pestilential Western sheds the last 
vestige of logic when the one-and-only Tom 
Mi.x leads a cowboy band into the Arabian 
Desert to find his one-and-only's father. The 
sheik's a lustful old meanie about the girl. 
While Tom, in a burnous — can you cope with 
it? — goes to her rescue, his rival sells out to the 
Arabs. Customary Mi.x-isms stem the tide of 
tragedy, but the whole thing is utterly ridic. 

THE POWER OF THE PRESS— 
Columbia 

ANOTHER newspaper story about the same 
cub reporter making the same big scoops. 
You've seen it over and over again, yet this is 
so skillfully done that you find yourself 
absorbed to the very end. Without its being 
done obviously, you'll get a perfect idea of how 
a big newspaper is "put to bed." Douglas 
Fairbanks, Jr., and Jobyna Ralston are a 
charming couple, the personification of the 
spirit of youth. You'll enjoy this. 

CITY OF PURPLE DREAMS— Rayart 

OCCASIONALLY small producers bite off 
enough drama to choke an elephant, but 
somehow Robert Frazer manages to handle 
this story in a convincing manner. It's built 
around the wheat pits of Chicago. A man, 
nearly ruined by the influence of a radical girl, 
is eventually inspired to great accomplish- 
ments by the wheat king's daughter. Barbara 



Bedford is excellent as the radical, and 
Jacqueline Gadsdon is adequate as the wealthy 
girl. Fair entertainment. 

THE HEAD OF THE FAMILY— 
Gotham 

WE knew it was coming. After the 
"butcher boy" came into his own as a gay 
Lothario, we knew plodding husbands would 
take notice. The husband in this picture is 




Why the trip to Hawaii is such a 
popular way of spending a vaca- 
tion. Dorothy Mackaill keeps up 
her exercises on the deck of the 
S. S. Los Angeles, on a location trip 
to the Pacific island to film scenes 
for "Changeling" 

taunted by his plumber for being such a 
namby-pamby, whereupon the henpecked man 
calls the plumber's bluff, installing liim as head 
of the family, pro tem. 

SOUTH OF PANAMA— Chesterfield 

C.VRMELITA GERAGHTY and Eduardo 
Raquello in a gay, fast-moving adventure 
picture that seethes with suppressed revolu- 
tions. Things are slow in the gun-running 
business, so an .American profiteer sends his 
darkly romantic underling to a fly-by-night 
Latin republic to stir up a war. He almost suc- 
ceeds when he falls in love with the president's 
daughter. Then he goes into reverse gear and 
tries to undo all the dirty work. 



THE AVENGING RIDER— FBO 

T^HIS picture is nothing to write home about. 
■'■ A man and a girl inherit a ranch jointly, but 
suspicion points to the man as the murderer of 
the former ranch owner. The picture relates 
how he clears his name and exposes the mur- 
derer. There is an engaging boyishness about 
Tom Tyler's smile, and a sincerity in all that 
Frankie Darrow does, but this story is an 
obviaus one, too thin for adult audiences and 
not thriUing enough for children. 

SIOUX BLOOD— M.-G.-M. 

A RE the movies in their second childhood, 
-'•-or is history merely repeating itself? In- 
dians and prairie settlers after each other's 
scalps, bloody tomahawks, torture fires, buck- 
skin-clad whites, rescuing beautiful blondes, 
wholesale bloodshed . . . epic stuff, fifteen 
years ago. But Colonel Tim McCoy can dis- 
inter the stalest movie plot and show you what 
grandpa should have done. Made on the 
Federal Indian Reservation in Montana, extras 
were recruited from local redskin circles. 

THE HARVEST OF HATE— Universal 

'"PHIS picture had possibilities, but the star, 
-'- Rex, the wild horse, is again pushed to the 
background to develop romance between a boy 
and a girl. Rex should have had his chance 
with the pretty white horse. Starlight, but who 
is going to fight for the horse's rights when 
Jack Perrin and Helen Foster are playing in 
the picture? The result is an opus that is 
neither fish nor fowl. Only children will be in- 
terested in this. 

KING OF THE RODEO— Universal 

A FEW more pictures of this type and Hoot 
Gibson will be playing a lone hand in the 
field of Westerns. This is crammed full of 
rodeo thrills — and real ones at that. Not a 
new story but refreshingly handled. A ranger 
father desires a different life for his son and 
plans it accordingly, but the boy loves horses 
and stays with them. DeUghtful comedy 
throughout and the best picture Hoot has made 
in a coon's age. 

DRIFTWOOD— Colum bia 

A PALE shadow of Sadie Thompson, ■ in 
which MarceUne Day portrays a lady of 
uncertain past and even more doubtful future. 
She wanders to the isle of Luva, inspiring the 
white king who owns it with the desire to add 
her to his possessions. To defeat his shady 
plans, she marries the community drunkard. 
A derelict and an outcast — flotsam and jetsam 
on the tropic tide. A mediocre picture, with a 
plot as aimless as driftwood. 

THE QUEEN OF BURLESQUE— 
Tiffany-Stahl 

ANOTHER story of show folks. The at- 
tempt at poignancy falls short. After all 
that has gone before, can you get e.xcited over a 
clown with a broken heart? With the im- 
mortal "Stella Dallas" to her credit, it seems a 
pity that Belle Bennett should be given such a 
slight situation upon which to work. Joe 
Brown is best in the vaudeville act, which is 
part of the story. 

MAKING THE VARSITY— Excellent 

A DYING mother exacts a promise from her 
older son that he will stand by baby 
brother until he "makes the Varsity." This 



0«> 



Photoplay Magazine — Advertising Section 



was much too much, for the Varsity shouldn't 
have been "made." Notwithstanding the fact 
that the football sequence was directed by an 
experienced coach, the balance of the story is so 
preachy, you had belter stay home and get 
your game over the radio. 

THE AMAZING VAGABOND~FBO 

BOB STEELE'S newest picture dwindles off 
to a disappointing finish. The agile Bob 
plays a daring fellow with a flair for the high 
places, sucli as aeroplanes and parachutes. So 
his disapproving father packs him off to the 
family lumber camp to cure his aviation com- 
plex. Which cures the kid, but spoils the 
picture. 

THE SHAKEDOWN—Universal 

T.AMES MURRAY in a realistic yet pictur- 
Jesque story of crooked fight promoters in an 
oil town. The young promoter adopts a fresh, 
freckle-faced orphan, to get in right with the 
townsfolk whom he plans to "gyp." Jack 
Hanlan, a ten-year-old actor, hitherto un- 
known on the screen, walks away with the 
picture. Barbara Kent, completely w-inning, 
as usual, shares honors with Murray. 

THE CAVALIER— Tiffany-Stahl 

npHIS is another of Richard Talmadge's 
■*■ frenzied attempts to out-Doug Doug Fair- 
banks. The sturdy star, as a Spanish-American 
Robin Hood who robs the Dons and protects 
the Indians, does impossible leaps and climbs — 
all to save the pretty per.^on of Barbara Bed- 
ford from an odi lus marriage to a wealthy 
nincompoop. A pretty picture, with some hot 
riding, but old-fashioned and imitative. There 
is a synchronized Photophone score by Dr. 
Riesenfeld. Its feature is the astonishing feat 
of Mr. Talmadge who, as the Spaniard, sings a 
love song in perfect English without opening 
his mouth. 

THE BLACK ACE—Pathe 

TT'S a difficult proposition for a professional 
-^gambler and thief to mend his waj's and 
right about face for twenty years without a 
slip. That's what our hero does, only to be 
confronted with his past record at the most 
critical point in his career. Certainly he 
stands the test. Don't Western pictures all 
end properly? Love interest furnished by 
Jeanette I.off and Don Coleman. Okay for in- 
expensive amusement. 



Sound Pictures 



[ CONTINinjD PROM PAGE 5S ] 

NAPOLEONS BARBER— 

Fox-Movietone 

"Yji 7"E hope that they make a lot more talkies 
"^ like this one and then — goody, goody! — 
maybe they won't make any more! Now 
wouldn't that be just dandy? It is all very 
crude and unreal. The characters, as usual, 
seem to speak from their vest pockets. Otto 
Matieson gives an interesting performance as 
Napoleon and his voice is better than the aver- 
age. There is but one real consolation — it is 
only a two-reel picture. 

A MAN OF PEACE— 
Warners- Vitaphone 

TPHE feud in the Ozarks never dies. It prob- 
■'■ ably never will while there are movies to 
' keep it alive. Hobart Bosworth permits his 
singularly fine voice to wax eloquent over such 
whiningsas: " Y'all bumped off mah pappy, yo' 
duh-ty skunk ! ' "We knows as how to Io\'e in 
these h-yre hills, an' we knows as how to hate ! " 
Of course Mr. Bosworth is good, but it's a bit 
disappointing to us that his first Vitaphone 
sketch is not quite worthy of his capabilities. 




"The Golden State Limited' is, indeed, an unusual train 
and really makes what might easily be a trying journey, a 
thing of constant and complete pleasure and comfort." 

The Southern Pacific— Rock Island "Golden State Limited" — 6114-hour 
flyer befween Los Angeles and Chicago. F. S. McGinnis, Passenger Traffic 
Manager, Southern Pacific, San Francisco; L. M. Allen, Vice-President 
and Passenger Traffic Manager, Rock Island, Chicago. 1| Convenient ticket 
offices:— 6768 Hollywood Blvd., Hollywood; 212 West 7th, Los Angeles; 
531 5th Avenue, New York; 33 West Jackson Blvd., Chicago. 



When you write to advertisers please mention PHOTOPLAY MAGAZINB. 



My Life— So Far 



[ CONTINUED FROM PAGE 51 



of dear Molly Thompson. But the superiority 
of the other extras simply floored me. So suave, 
so elegant, so unperturbed, so beautiful in their 
smooth make-ups. The lovely rounded bodies 
of the girls. I felt so immature in my high- 
waisted frocks, spanning a flat little bosom. 
They were most superior, these creatures, with 
their castes, their httle secrets. There were 
those who knew the best place to lunch, where 
one could get the most for the least money. 
They knew, too, how to apply make-up so it 
would be as smooth at the end of the day as 
when they first patted it on in the morning. 

By the time eleven o'clock came my make-up 
was usually sadly streaked. I was quite miser- 
able. Really too self-conscious of my defects. 

IT can't be vanity, and if it is, it must be 
quite human, but, now, when I walk on a set 
assembled for Janet Gaynor, I cannot help but 
give a fleeting thought to those other days. To 
think that the "some day" has come when 
those same people are called to work in a pic- 
ture in which I am the star. 

It was just after I had answered a call to do 
extra work at the Roach Studio the next day, 
that Fred Datig of Universal telephoned and 
asked me to report to the studio the day follow- 
ing to play a lead. A lead! 

"But, oh, Mr. Datig, I can't! Oh, I can't. 
Isn't it too bad? I've just promised Mrs. 
Thompson at Hal Roach that I will do extra 
work tomorrow. Oh, isn't it a shame?" 

His laugh comes to me now. " Don't worry 
about that. When you have a chance to play 
a lead, don't bother about extra work. We can 
fix it up." 

The next day I became leading lady for 
Peewee Holmes and Ben Corbin, Western 
comedians, and in five days my first picture, a 
two reel comedy, was completed. I recall the 
opening shot, me with my forefinger beneath 
my chin, and the opening title which read 
"Little Susy Harper ..." And the closing 
shot, me with my forefinger beneath my chin, 
and "So little Susy Harper ..." 

I had done some work with Alberta Vaughn 
in an FBO series. I had done a bit. But never 
had I done a lead. Wesley Ruggles, who was 
directing Alberta, told me that I "had some- 
thing." I blushed and didn't believe him. 
Jonesy did, though. 

You can imagine my dehght when at Uni- 
versal they told me that I was to make five 
more comedies with Peewee and Ben. Hereto- 
fore they had changed leading women with 
every picture, but they hked my work. I 
received fifty dollars a week, and the days I did 
not work in my Western comedies, I worked as 
an extra on some Laura La Plante pictures and 
others. I was not under definite contract, but 
I was in stock. So was Fay Wray. 

GRADU.^LLY I was becoming accustomed 
to the studios. I felt like a more intrinsic 
part of them, now that I was leading lady. I 
was engaged at that time to a sweet, a darling 
boy, Herbert Moulton. He was a young jour- 
nalist on The Los A ngclcs Times. With him I 
wouldattend the theatrical openings. Iwouldgo 
with him when he covered pictures and plays. 
Seated, at night, in the newspaper olfice while 
he wrote his criticisms for the morning paper, I 
would look over the stacks of pictures with 
which his desk was deluged. I studied the 
pictures attentively, thinking to myself "this 
is what I would not do if I were posing" and 
"this girl should make good." 

And I would wonder to myself if I would 
ever, ever make good in the films. If my pic- 
tures would be pubUshed in the papers. If 
critics would gather to discuss my latest 
picture. 

One day a call came from the Fox studio. 
They were to film "The Johnstown Flood." 



A second lead was needed to play with George 
O'Brien and Florence Gilbert. They were con- 
sidering me. I took some tests with Irving 
Cummjngs, who was to direct, instructing me. 
He was a never-tiring, a sympathetic, good 
friend. They offered me a contract to play in 
this one picture, or, if they chose someone else, 
I was to play the lead in a comedy. At Uni- 
versal I was getting fifty dollars a week, regu- 
larly; yet I gave up that definite salary for the 
chance to play an emotional part. 

It meant severing my relations with Uni- 
versal. It was daring. Nevertheless, I took it, 
without qualms. "You are right, Lolly," said 
Jonesy. 

I got the part in "The Johnstown Flood." 
I shall never forget how hard I tried to do well. 
I would tremble so before I went into a scene 
that the property boy would grip me tightly by 
the arms, lest my trembling show on the screen. 
I was giving all I could to succeed. We worked 
in water almost all of the time. Irving Cum- 
mings was a prince. Nevertheless, I went into 
each scene super-charged with emotion. I was 
worn out by the time night came. I have 
learned since to conserve emotion. Not to 
force it for the first camera shot. Emotion is 
not to be driven. It will come. 

Nowadays, if the first shot is not as it should 
be, I do not worry. I know that in one of the 
succeeding shots the great flood of feeling that 
is demanded will go over the flood-gates. The 

In her life story, Janet Gaynor 
mentions Lydell Peck as a young 
man "I adore as a fine friend." 
Rumors report an impending 
engagement, for little Janet is a 
frequent visitor at the home of 
the young attorney's parents in 
San Francisco 





camera can wait. The director wants to wait. 
He knows, as I do, that eventually we will get 
what we are striving for. On "The Johns- 
town Flood" I was constantly at the highest 
pitch. I would come out of the scene hysterical, 
and go home, quite spent, to go immediately 
to bed. 

Irving Cummings liked my work. So did 
Mr. Sheehan. He gave me a contract which 
paid one hundred dollars a week. "I knew it," 
Jonesy said, and went around to his friends 
telhng of his little Janet. 

Then came some hghter pictures. "The 
Shamrock Handicap," which John Ford di- 
rected. "The Midnight Kiss," which first was 



Inlei national Nlw.s 



The first home 
of the Gaynors 
in Hollywood. 
From the house 
Janet went daily 
to the Holly- 
wood Secretarial 
School, little 
dreaming of fu- 
ture film star- 
d o m . She 
wanted to be- 
come a stenog- 
rapher — and a 
good one 



caUed "Pigs." "The Blue Eagle," in which I 
again appeared with George O'Brien. 

With "The Return of Peter Grimm" came 
my second dramatic role. Oh, how I worked to 
make that a good picture, to justify the high 
hopes that Winnie Sheehan had for me. I 
worked so hard that I collapsed on the set and 
had to be rushed home where the doctor told 
Gaynor that, unless I was taken away im- 
mediately and within the week, something far 
more serious . than a temporarj' breakdown 
might occur. The studio arranged that all my 
scenes be made in one day, and I left for a vaca- 
tion at Del Mar, south on the California coast, 
the following day. 



Photoplay Magazine — Advertising Section 



But there was more than good care to speed 
me on my way to recovery. While I had been 
making "Peter Grimm," Frederick Wilhelm 
Murnau, that splendid German director, had 
come to the Fox organization and was going to 
make " Sunrise." I was going to play in it. 

Never will I forget the day that I went to his 
ofBce. It was a very warm day. I had shoved 
my hair straight back from my brow, I never 
have been one to (ix, and pulled a large black 
hat well over my eyes. The hat was protective. 
I knew it would shield me somewhat from those 
piercing, penetrative, blue eyes, kindly, but 
nevertheless awesome. 

Rochus Gleis, his art director from Germany, 
was with Murnau. 

"Will you take off your hat please?" asked 
Mr. Murnau, and off it came. My big hat 
availed me nothing. 

Murnau and Gleis stood side by side, Mur- 
nau with his hands to his face, lips pursed, 
while Gleis chattered violently in German, of 
which I knew not a word. Then Murnau 
spoke, in German. They circled around me, 
nodding, gesticulating. Murnau approached 
me and stroked my hair: "Nice, nice," he said 
and smiled. They had forgotten I was alive. 
I was more a chnical exhibit than anything. 
Suddenly he remembered. 

"You do not like it, ncin? Well, so, perhaps 
it iss not so pleasant." 

I admitted it was not so good. "It is not 
very pleasant to sit here and have you talk 
about me," I answered. " Especially when I do 
not know what you are saying." 

I was going to play "Sunrise." This was 
what Winnie Sheehan had told me. He had 
also told me two other glorious things. 

The second was that my contract was to be 
torn up and a new one at three hundred dollars 
a week was to supplant it. And the third. . . . 

All during the making of "Peter Grimm" 
the studio had been agog with rumors of who 
was going to play Diane in "7th Heaven." 
Every actress of importance in Hollywood had 
taken a test. Day by day limousines would 
draw up to disgorge another celebrated con- 
testant. Rumor was that even Douglas Fair- 
banks and Mary Pickford wanted to do it. 
Unknowns were being photographed for the 
part. 

Between scenes we would gossip about 
whom we thought should be Diane. My choice 
was Dolores Costello. 

T WAS doing the wedding scene in "Peter 
-'- Grimm" when Frank Borzage, that grand 
person who was to direct "7th Heaven," 
and, later, "Street Angel," came to our set. 
No one introduced me to him. He sat about, 
silently, and then left. I consoled myself with 
the thought that anyway I was wearing my 
most beautiful costume. But even that had 
not seemed important enough for someone to 
present me to him. Afterward he told me he 
had come on the set for the express purpose of 
seeing what I looked like. 

"Oh, I'd love to play Diane," I confided to 
the cameraman. 

"Your eyes are too bright, Janet," he said. 
"Too much Hfe in them. Diane was a poor, 
beaten, drab little thing. You haven't lived 
enough to know how to act that." 

The third thing that Winnie Sheehan told 
me was that I was to play Diane in "7th 
Heaven." I had never even made a test for it. 

Did ever any girl go away on a rest with 
brighter prospects awaiting her return? 

Making "Sunrise" under the gentle and 
kindly direction of Murnau was a tremendous 
e.xperience. George O'Brien and I made a pact 
when we started that we would do anything 
and everything that this man told us to do. I 
worked in water all day long in some of the 
sequences, worked until I seemed to have not a 
spark of life in me. Murnau would thank me 
simply, and when I arrived home there would 
be a great bunch of red roses, expressing his 
appreciation. And when we were on location 
at Lake Arrowhead he sent to Los Angeles for 
a huge birthday cake with sixteen candles and 

[ CONTINtTED ON PAGE 123 ] 



95 




uyeriJ wamaiv 

from 

Mrs Noah to now 



w: 



HO can doubt that the debark- 
ing Mrs. Noah, with the blood 
of Eve in her veins, did not regard in 
some deluge-born pool the state of her 
complexion? 

Her descendants have elaborated on 
her simple technique. Yet with all 
their skillful use of creams, modern 
women by the thousands are guarding 
their skins as well as their health by 
keeping internally clean — by the saline 
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A Back-to-Nature Beauty Aid 

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For years the drinking of salines to 
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fashionable resorts have grown up 
around the health-giving spas. 

Sal Hepatica is the American equiva- 
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plexion. It gets at the source by elimt- 



At your druggist 's 



O ALINES are the mode the 
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wonderful antacids as well as lax- 
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tendency to make their takers stout! 





nating poisons and acidity. That is 
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Sal Hepatica, taken before breakfast, 
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does it fail to work within 30 minutes. 

Get a bottle today. Keep internally 
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iOc, 60c, and $1.20 



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WbeD you write to airertlsera pleas© mentioD PnOTOPI..AT MAGAZINE. 



Doug's Office Boy Makes Good 



I CONTINUED FROM PAGE 63 | 



to that, my folks sent me each month a small 
remittance, so I put off returning home, upon 
first one excuse and then another, because I 
knew I would have to go back to school and 
specialize for diplomatic service." 

"D ARRY remained a year and a half in New 
-^Vork, with no thought whatever of pictures. 
In fact, one night in the Pepper Pot, a Green- 
wich \'illage cafe, Bijou Fernandez, scouting 
for types for Paramount, offered to enter the 
boy in the Paramount School for Pictures, that 
novel institution which gave us Buddy Rogers 
and Josephine Dunn. But young Mr. Norton, 
quite satisfied with life as he found it, rejected 
the offer with considerable scorn. There fol- 
lowed, also, opportunities to go on the stage. 

"But I never could remember lines," he said, 
"so I was afraid of these offers." 

Finally a time came 
when he went to Chi- 
cago, to settle the estate 
of a friend of his father. 
Despite the parental 
admonition against fur- 
ther travel, he contin- 
ued on to Hollywood, 
the wanderlust whisper- 
ing that he could boast 
he had traveled from 
coast to coast. Even then 
he intended returning to 
South America. 

"I was confident," he 
e-xplained, " that I could 
work my way back to 
New York through the 
Canal. And I. was light- 
hearted and without 
care." 

It had been necessary 
in Chicago to pawn 
practically everythinghe 
owned in order to obtain 
money for the fare. And, 
when Barry Norton ar- 
rived in Los Angeles, he 
possessed just fifteen 
dollars, an Argentine 
valise and an extra suit 
of Buenos Aires clothes. 

WHAT do you 
think my first job 
was? "he asked, his eyes 
alight. We did notknow. 
"Carrying lumber! 
Oh, boy, what a job! — 
ina lumber yard. Boards, 
planks, scantlings, posts, 
— tons of 'em! It nearly 
broke my back. I was 
too light for the work, 
so they fired me, and 

that about wrecked my pride. I went to 
the boss and begged him to let me keep on. 
I told him I'd carry twice as much. I didn't 
want to fail. It's always bad to fail — the 
psychology is demoralizing. But the boss 
shrugged and shook his head. His coldness 
offended me. Maybe I was sensitive. All my 
hfe I have been sensitive, and I felt it was un- 
fair not to give me a chance. But that is 
America — cold, businessUke. Great oppor- 
tunities if you are competent, but no room if 
you can't hold the pace. In my own country, 
I think they would have helped me. Yet I did 
not leave that job with the feeling that I was 
useless; I merely felt I had learned that this 
was not my sort of work. 

"In South .America I fear I had gained a 
rather imperialistic outlook. I'or instance, I 
felt, until I came to this country, that indi- 
viduals were born to their station and should 



be treated accordingly. A servant was a 
servant, a chauffeur a chauffeur, a w^aiter a 
waiter and nothing more. Under all circum- 
stances they should be made to realize their 
places. But I have found that the world is not 
like that. 

"There is no such thing in life as 'station.' 
One of my very good friends, for example, is a 
young Canadian with whom I worked in the 
lumber j'ard. He is not intellectual, I admit, 
but he is human, and he has a heart. And 
today he is a taxi driver!" 

After the disaster of the lumber yard, Barry 
Norton turned his gaze screenward. 

"I remembered what Bijou Fernandez had 
told me in the Pepper Pot," he said, "so I 
knew it would be a cinch." His eyes twinkled 
and he smiled oddly. "Yes, I knew it would be 
an absolute cinch!" 




Barry Norton's mother and father. They haven't seen their son 

since he left them five years ago, to come to this country as a 

member of the cheering section for Firpo, the Wild Bull of the 

Pampas. But the Biraben family plans a reunion in Paris soon 



The assurance of youth! Its tenacious ar- 
rogance! 

From studio to studio he trudged, his feet 
blistered, occasional relief grudgingly granted 
by passing motorists. But at every casting 
window the same answer was inevitable — " Not 
the t>pe." So it was just the old story without 
variations. 



■pINALLY, however, persistence won. 



Barry 

Norton got a break. 

A picture at FBO. 

"It was interesting," he said, "because of 
one experience. I was introduced to the star. 
Very condescending indeed, that star, strug- 
gling desperately to keep her high hat on. Two 
years later I signed a contract with Fox. My 
first 'opus' was 'The Lily,' made mostly with 
free-lance players. 

"In fact, I was the only contract player in 



the cast. Belle Bennett topped the list of 
players. 

" Far below me was billed the ritzy lady who 
had worn the high hat of stardom at FBO. A 
strange place, Hollywood!" 

npHIS "big opportunity" at FBO, however, 
-'■ developed into just another extra job. But 
out of it Barry Norton made enough to buy a 
new pair of shoes with which to continue his 
marathoning. 

And again he heard the wolf cry — "You're 
not the type." 

But one morning he got a call from an agency 
in the Taft Building — the very building where 
Photoplay now has its Hollywood head- 
quarters. 

"The United Artists studios want you," he 
was told. "Douglas Fairbanks." 

Douglas Fairbanks! 
His heart gave five extra 
thumps. A break at last! 
So he marched boldly 
to the United Artists 
studios, expecting noth- 
ing short of the juvenile 
lead, and receiving in- 
stead an offer to go to 
work as office boy. 

What a blow to high 
hopes, to visions that 
soared in the clouds. 

But Barry Norton, 
still Alfredo Biraben, 
mind you, did some 
fast thinking. It was 
a job. 

It paid money. It was 
with Douglas Fairbanks 
and that meant prestige 
and maybe a chance to 
learn about pictures. 
He took it. 

And, roughly speak- 
ing, he remained there 
four months, learning 
about pictures. At every 
opportunity he was on 
the set, studying. In 
fact, he devoted* so 
many golden hours to 
observation on the set 
that it was his eventual 
undoing. 

Clarence Erickson, 
manager, a practical 
soul with no feeling 
whatever for higher art, 
finally discovered how 
the office boy spent his 
time . . . 

"But I learned much," 
says Barry. "I learned 
timing there, the great 
secret of screen acting." After being detached 
from the Fairbanks payroll, Barry took up the 
great trek again, consumed this time with an 
even greater determination to act. 

I KNEW I'd be set if I could just get a test," 
he said. "But casting offices were always 
broadcasting that favorite jazz number, 'Not 
the type.' It was like static, forever interrupt- 
ing the song of hope. 

"Casting directors used to advise me to go 
back home. 

"They said there was nothing in Hollywood 
for me, that it would be infinitely better to take 
up some other line." 

Fie paused for a moment and looked away. 

"One thing I will never do," he said finally. 
"I will never discourage anyone. I will never 
tell anyone not to try. You never can tell. 
Let people learn for themselves. They will 



96 



Photoplay Magazine — Advertising Section 



find out eventually if they are not suited, and 
when they learn it for themselves they are 
more apt to stay convinced." 

No matter what the breaks were, Barry 
Norton never considered the possibility of 
quitting. 

"You see," he remarked, eyes twinkling 
again, "I knew I was good! I had a hunch. I 
felt that it was merely a matter of getting a 
test. 

"The break came one day at the Fox 
Studio. Irving Cummings saw me. 'Just the 
type I'm looking for,' he said. That casting 
oflice dirge came back to me — 'You're not the 
type, not the type!' I almost laughed out- 
loud, for right here in front of me was a flesh 
and blood director announcing me as just the 

t>T>e. 

"Strange town, indeed, this Hollywood." 

THAT test won Barry Norton a contract, 
and with the signing of that contract, he 
lost his South American name. 

Studio executives ruled that it was too un- 
wieldy and that he must adopt an American 
name in its stead. 

From a list he prepared, the name Barry 
Neilan was chosen, and it was under this 
nom de cinema that he received his first screen 
credit. 

But to avoid being confused with Marshall 
Neilan, Barry selected Norton for his last 
name. 

He is being carefully groomed now by Fox for 
bigger and better things. The latest develop- 
ment in his career is a trainer. Leo Houck, 
ex-fighter, actor, stunt man and assistant 
director, has been assigned by Winnie Sheehan 
to build up the Norton neck and thus add 
character to the Norton face. 

And from what I know of Leo, he will either 
build up the Norton neck or unjoint it, if you 
know what I mean! 

Barry is now twenty-four, and a large hunk 
of actor, providing you do not mind the deli- 
cate cast of his features. You will remember, 
of course, that in "What Price Glory" people 
spoke of him as that beautiful boy. He is five 
feet eleven and one-half inches tall and weighs 
one hundred and seventy-four pounds. And 
when he is not in costume, his favorite apparel 
is a pair of whipcord riding breeches, tan boots, 
light tan camel's hair sweater, light yellow 
shirt that blends smartly, and a slightly darker 
tie with small brown polka dots. 

This get-up sounds hke a Hollywood pose, 
and hard-boiled grips and prop men fre- 
quently yell, "Hey, Barry, where's your horse?" 
But for all that, it's on the level, and every 
opportunity finds him bridle-pathing his favor- 
ite steed over the Hollywood hills. 

JUST now, Barry's great ambition is to see 
Jhis folks — his mother, his father, his only 
brother. 

"I have not seen them since I left Buenos 
Aires," he told me. "But I do not expect to 
visit them in my native city. I think I shall 
see them in France. It takes too long to go to 
the Argentine — thirty-one days on the boat 
alone. 

"So we will meet in Paris, the birthplace of 
my mother." 

And it is just possible that Barry will take 
a woman with him — a beautiful woman, 
talented, clever. If she goes, it will be as Mrs. 
Norton. 

We can't say for sure, of course, because he 
wouldn't say for sure. But when we asked him 
about Myrna Loy, he grew silent. And when 
he finally spoke, it was with caution, each word 
carefully weighed. 

"Myrna and I go together, yes," he said. 
"She is wonderful. But marriage — " He shook 
his head. 

"Bad for your careers?" I suggested. 

He nodded. 

Which is always a good omen. 

.'\nd therefore this actor who once was an 
office boy looks forward to two things — 

Stardom and, unconsciously perhaps. Mat- 
rimony. 




DOROTHY 
KNAPP 

proclaimed 
"the world's 
most beauti- 
ful girl" 



Have 
You 



oymme trizod jour figure 

tliis/5 minute way? 



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Girls' Problems 



[ CONTINUED FROM PAGE 16 ] 



whether your appearances are the deceitful 
kind? 

So I advise you — first. And then I go back 
to what you have told me in your letter. For 
you have written — "My life's happiness is 
hanging by a thread." And if such is the case, 
if the matter is so desperate, then surely you 
should not pause in taking a direct course to 
straighten it out. So long as you are so sure of 
your man's love, you should go to him. And 
be frank. You should 
explain to him just how 
appearanceshavelabeled 
you with an unpleasant 
tag — how they put you 
in a wrong position. And 
you should explain that 
the ultra-modern veneer 
with which you have 
covered yourself means 
less than nothing. You 
should explain to him 
that underneath the 
veneer you are as old- 
fashioned — that you 
have as high ideals and 
right principles — as his 
own mother, and the 
girls who lived in his 
mother's time. 

If the man is worth 
while, Wilma, he will 
understand you — and, 
what is even more im- 
portant, he will believe 
you. And if he doesn't 
understand — a n d 
doesn't believe — then he 
isn't worthy of your af- 
fection. And you would 
do well to forget him. 
As soon as you possibly 
can. 

B. A. S.: 

You are of the Gloria 
Swanson type. Your 
coloring is almost 
identical with hers. You 
can wear, as she does, 
subtle shades — strange 
greens and ambers and 
blues. 

Ethel S.: 

Oily hair is a problem. 
It requires infinite care 
and patience. If you 
can manage to stand it 
in its oily state over the 
time when you usually 
shampoo it, you will 
find that the oUiness de- 
creases. Oftentimes oily 
hair comes from over- 
shampooing. Some- 
times, however, oily hair is successfully treated 
with oil itself — in the form of hot oil shampoos. 
Ask the hair dresser in your town for her 
advice. 

Nancy: 

I think you have proved that your more 
carefree methods of living (which you refer to 
as "wildness") have decreased rather than in- 
creased your popularity. Go back again to 
your old standards. Be the sweet little girl 
that you used to be and I am sure that you will 
regain your one-time charm. 

J. v.: 

Is there no one in your town to whom you 
can go for advice about singing? Certainly 
there is a choirmaster in your church or a song 



leader in your high school who at least could 
tell you to whom you should apply for help in 
realizing your ambition. 

Laura K.: 

Are you sure that your teeth are in good con- 
dition? Sometimes skin troubles come from an 
infected tooth. Apparently you are healthy in 
every other way, and your method of caring for 
your skin seems a wise one. I would suggest 




How a big girl and music show looks to the man in the fly gallery. 
An unusual shot of a stage scene being made by Malcolm St. Clair 
for Paramount's production of "The Canary Murder Case," the 
S. S. Van Dine mystery story. Louise Brooks is the girl in the swing 



that you have your teeth X-rayed. Perhaps 
you would find also some good suggestions in 
my booklet on the care of the skin. 

P. L. S.: 

Some people who find a cream too heavy for 
their delicate skins are pleased with the results 
obtained from using a good skin lotion. 

Indeed daily sun baths would help you in 
your second trouble. They are found most 
beneficial by many people. 

As to your weight, you should weigh about 
125 pounds. 

Jane: 

An inferiority complex is a hard thing to 
battle. I don't know quite how to advise you. 
I can only say that you should try to be 



natural, that you should be as unaffected with 
boys as you are with girls. If you find it hard 
to talk, let the other person carry on the greater 
part of the conversation and show your interest 
by your understanding and intelligent silence. 
The most popular girls I have ever known have 
been the best listeners. 

Patsy: 

See my advice to Jane and follow it. Read 
good books and be able 
to comment intelligently 
on them. Also keep up 
with current events. 
You evidently lack 
something in conversa- 
tion. 

Lois: 

You should wear 
straight-line dresses 
with skirts slightly long- 
er than the average, and 
low waist lines. You 
must avoid ruffles and 
frills. They will make 
you seem heavier. Dress 
your hair high — as high 
as possible. Brush the 
little curls up to a loose, 
soft knot at the top of 
3'our head. This will 
give you height, charm 
and slimness. 

A. R.: 

Massage your legs 
with a good tissue build- 
ing cream. This should 
make them a little less 
thin. Drink a glass of 
cream and millc three 
times a day — halt cream 
would be best. Do not 
take over-hot baths and 
do not exercise too 
violently if you want to 
gain weight. 

Pauline: 

Never sacrifice your 
looks to a ruhng style. 
If you look best with 
your hair short, be sure 
to keep it short, no 
matter how popular 
'ong hair may become. 
Individuality is more 
important than the 
thing that fashion dic- 
tates. 

You will be prettiest 
in straight dresses, and 
your best colors will be 
different shades of blue 
and greens. You will 
also be quite lovely in beige. 

You are just a trifle overweight, but at your 
age it is quite easy to control one's weight by 
exercise. Your letter makes you sound very 
attractive. Don't worry about any minor 
defects. 

Last of all, I want to thank you for one of the 
loveliest compliments that has ever been paid 
me. You will understand what I mean. 

JOBYNA K.: 

Beige is a good color for you. You can also 
use the strange off shades — queer reds and 
mauves and greens. Personally, when one can 
wear such colors, I prefer them. They stand 
out from the average thing. Use ashes of roses 
rouge and Rachel No. 2 powder. They will be 
best for you. 



98 



Photoplay Magazine — Advertising Section 




Ifitlfj'^ MOVI ET01>I E 



Whea you write to advertisers please mention PHOTOPLAY MAGAZINE. 



Good Girl 



[ CONTINUED FROM PAGE 67 J 



"Yeh, great little old trip!" His eyes slid 
past hers. " See the rushes of my iight scene? 
Pretty hot, what?" 

She went home, divided between hope and 
despair. He hadn't said anything, but surely 
there had been meaning in the way he had 
pressed her hand when they had said goodby. 
. . . She wasn't a girl who let men kiss her, 
but he hadn't tried. . . . 

"Ken Laurel's not the marrying type," 
Marjorie Ford, who played vamps, observed. 
She was using a lipstick and small mirror and 
wasn't looking at Ellen, who flushed at men- 
tion of the star. 

"Don't you think so?" 

"V\7ELL, he always dodges before they get 

** him to the altar. There was that 
Madam WhatyoucaUer who made 'The Green 
Sin,' and Lou Leslie and that blonde that 
married the Jew bootlegger, — oh, a lot of 'em 
have tried to get him. . . . Dearie, if you've any 
designs on him, forget 'em and go after the 
Prince of Whales or the Astor offspring or some- 
body easy. And don't look at the word 'de- 
signs.' Only them as has 'em are going to land 
rich and handsome husbands in these hard 
times." 

Ellen rearranged a pin in a soft coil of hair 
and tried to speak casually. "He asked me to 
dinner tonight." 

Marjorie flashed an upward glance at the 
self-conscious little figure by the dressing-table. 
They were attending a "cat" party. 

"WeU, listen to Gramma, dearie. If you 
reaUy want him, you'd better can the sweet, 
domestic type and develop some pep. You've 
read that men may pay attention to the giddy 
girls, but it's the good ones that grab off the 
wedding rings. Take it from me, that's the 
bunk! Nothing will drag some men to the 
J. P. but a couple bottles of bad gin." 

But EUen had gone downstairs. Connie 
Lane was there and Bess Pretty, both newly 
engaged, discussing Christmas presents for the 
fiance. 

"What you got for your best beau?" called 
Connie, hghting her cigarette at one of the 
table candles. 

"It's finished," confessed Ellen. "I was 
afraid I wouldn't get it done, we've had so 
many night calls. It's a — " she lowered her 
voice — "a lounging robe." 

Marjie, on the stairs, commented: "My 
Gawd, she made it !" 

But no comment could touch Ellen's pride 
in her gift — shining black satin without, vivid 
crimson silk within, beautifully quilted, every 
stitch a memorial to Ellen's convent days. It 
lay in its holiday box, the special silver-starred 
paper and wide scarlet ribbon for its wrapping 
beside it. There was a card, too, that read: 
" Ken from Our Nell." 

SHE sent the gift to him by special messenger 
so that it would reach him Christmas Eve. 
He had told her his family celebrated then. . . . 
She hadn't seen him for eight days, but he 
wasn't out of town. Bess Pretty, who was in 
his picture, said they were working every day. 

None of the packages that came to the 
bungalow before Christmas were from Ken. . . . 
buthe'dprobablybringithimself on theday 

Ellen was up so early that Brother pre- 
tended she still believed in Santa. She was 
unusually gay over the gifts. "How lo-o-vely !" 
she kept crying. 

"You're awfully easy pleased!" grunted 
Brother, when the exclamation came after the 
opening of a box of knitted washrags from an 
Idaho aunt. But he didn't pursue the subject. 
EUen's eyes looked misty. 

Noon. Afternoon. Evening. Eight o'clock. 
Nothing from Ken. Not even a card or a 

100 



telephone call. Ellen slipped out to the 
garden to get away from the indignant pity in 
Brother's face. All the shades were up, reveal- 
ing the lighted tree, the holly wreaths, the hope- 
ful sprig of mistletoe on the chandelier. Beds 
of blooming poinsettias, that made a flaming 
wall around three sides of the house, were 
picked out by the electric lamps across the 
street. 

Perhaps she could tell the girls Ken had 
given her the turquoise pin of Brother's — or 
the silver candlesticks from the Wheatleys — 
or the — no, not the dress from Cousin Jane! 
. . . Was that a car turning the corner? Yes — 
lights — it was stopping! She had reached the 




International Newsreel 



Flashing one of those famous Del 
Rio smiles, Dolores the Dangerous 
came home from her European 
jaunt on the "Paris." Tlie other 
lady is her mother 



sidewalk before she had seen it was a delivery 
wagon. A boy came staggering up with a box. 

"I knew he wouldn't forget!" almost sobbed 
Ellen, as Brother signed the boy's book. She 
could hardly get into the house with the box. 

Flowers . . . They won't keep but you can 
press them . . . Why wouldn't the silly box 
open? . . . There! Now the paper — . . . 
Poinsettias/ 

She read the card, a florist's card written by 
someone at the store. He'd telephoned the 
order. . . . "Christmas greetings from Ken 
Laurel." . . . 

Her brother admired them perfunctorily, 
but when she had taken them to the kitchen 
for vases, she heard him growl: "Forgot aU 
about her until he opened her present and then 
forgot we have sixty million of those in the 
yard! The low-lifer!" 

She laughed mirthlessly. . . . You can't 
press a poinsettia. . . . 

The tragedy of it was that Ken never quite 



dropped her. In the years that followed he 
was always coming back from New York, 
where he made a picture or so, calling her up 
and saying with that inflection that seemed to 
mean much and meant nothing: "How's the 
pride of Hollywood? Coming to dinner with 
an old flame?" or "That Our NeU? Know 
who this is? How about a bite and a show?" 

She always went — always put on her 
prettiest frock, had her hair marceled and 
mentioned his taking her to the other girls. 

pEOPLE were sorry for her. "Poor EUen!" 
-'- they used to say, with more or less of a shrug. 
" She's mad about him. I wish he would marry 
her!" with the intonation that means there's 
nothing less Hkely. 

There were times when it seemed possible 
Ellen might capture him. After his ardent 
affair with the Dane girl, for instance. . . . He 
had seemed actually in earnest over that and 
he was as much amazed as anyone when she 
announced that she had been married all the 
time to a French count. Ellen was seen every- 
where with him for the next few weeks. "A 
French count, my dear," she would say, scorn- 
fully, to anyone who hstened. "They don't 
kavr counts in France. It's a republic!" 

Then there was the time a boat was blown 
up before the director expected the explosion, 
and Ken, who had been on it, was taken to the 
hospital. His eyes were bandaged and there 
seemed grave doubt as to whether or not he 
would see again. Ellen was the only one who 
could keep him quiet. His mother, weeping 
in the corridor, said so herself. Good little 
EUen, giving every spare minute to the 
furious invalid. 

He must have said things to her then that 
worried him when the doctors found that his 
eyes would be as good as ever. He was fond of 
EUen, but ... At any rate, it was arranged 
that Ellen should go to Italy with a movie 
company before Ken was ready to worjf . 

" Why, you ought to be jumping for joy!" he 
cried, when she came to him in tears . . . She'd 
be away a year! "I think it's great! Look at 
the opporitinity! Why, Ellen, it's marvelous/" 

"B-but you won't be there!" 

"A year's no time at all," he assured her, 
ignoring her piteous little wail. "Think of the 
edueation! . . . Gee, I wish they'd send me 
to Italy!" 

EUen was twenty-seven by that time. 
Education seemed to her something to be con- 
sidered in connection with her children. "But 
I'U never have any!" she told Connie Lane, 
who went to Italy, too. They told each other a 
great deal just then. They were both fright- 
fully homesick and neither of them Uked 
spaghetti. 

"■\yfARRIAGE isn't everything." returned 
■^"•'■Connie, gloomily. She had divorced the 
fiance of that long-ago Christmas and was said 
to be on very poor terms with her second 
husband. 

"With the right man — " argued Ellen. 

"There isn't any! Why don't you forget 
Ken Laurel and take someone else? There's 
the chap who's business managing us — whats- 
aname Peters. He's always giving you the 
glad eye. . . . Oh, don't get mad! . . . 
Believe me, I'm not going to act like an inmate 
of the old ladies' home while we're here. If I 
see any likely prospects — " 

The director sent Connie home six weeks 
later. She was a disturbing influence, and 
besides he'd had the script rewritten and cut 
her part out. She repeated EUen's confidence 
to some of the people at home. 

"I promised never to breathe a word, so of 
course I'm telling yout" she giggled. 

[ CONTINUED ON PAGE 107 ] 



Photoplay Magazine — Ad\ehtising Section 



lOI 



Sonny Boy 



[ CONTINUED FROM PACE 29 ] 

"They just can't seem to forget," Frankie 
told his mother. " that I'm not a little boy any 
more." 

Then finally came the call from 'Warner 
Brothers for the part of Sonny Boy in "The 
Singing Fool." 

■KJOW, mind you, this call was for Frankie, 
■'-^ notforDavey.but Mrs. Lee had formed the 
habit of taking Da\'ey along whenever they 
answered a call, thinking that possibly some 
day some one would see something in him and 
give him a break. 

"I wanted somebody else to discover it," 
she told me. "I wanted them to see for them- 
selves, because I knew if they found it out 
without being told, his chances would be much 
better." 

As usual, when Frankie and Davey and their 
mother arrived at the casting office, it was 
teeming with urchinp, and nary a one was more 
than half the size of Frankie. 

He looked them over with his sixteen-year- 
old superiority, sniffing his contempt. 

Rut at that moment, the casting director 
caught sight of Davey . . . 

We must pause here to tell you wherein the 
true story of Davey's engagement differs from 
the press agent version, '^'hat the publicity 
department was after, evidently, was copy that 
would paint a glowing picture for Jolson as the 
star of "The Singing Fool." The adventure 
they invented for Davey ran as follows: 

Davey eluded his mother for a moment, 
squeezed through the half open door of the 
casting office and stepped out on the lot, 
almost into the arms of Al Jolson. Jolson 
picked him up. yelled "Mammy" in a loud 
voice, and instantly Davey received a five 
year contract. These are the highhghts, minus 
the verbal garnishings, of course. 

But the facts are as follows: 

The casting director said to Mrs. Lee. " How 
old is this baby?" And when she told him. he 
asked, "Can he act? — has he ever had any 
experience? — will he take direction?" 

The answer, of course, was no. 

In spite of that, however, the casting direc- 
tor, being much impressed by the child, an- 
nounced that he was going to take him over 
to see Jolson. 

"And when he said that." said Mrs. Lee, "I 
wish you could have seen Frankie's face." 

What she meant, of course, was that all the 
disappointment in Frankie's heart, all of the 
dreams, all of the air castles that he had built 
so high under the urge of imagination and am- 
bition, came crashing down in a heap. And 
the effect was apparent in his face. 

But Frankie swallowed the lump in his 
throat and, with his mother, followed the cast- 
ing director at a discreet distance as he and 
Davey led the way across the lot toward the 
sound stage. 

"npHIS kid has never been in pictures," the 

•*- C. D. told Jolson. "but I wanted you to 
see him." Al looked down at the youngster, 
smiled, then extended his arms. 

"Come to Uncle Al,"he said. 

Davey hesitated a moment, then went into 
Julson's arms. Jolson hugged him tight and 
laughed. Then Davey laughed. They kept 
laughing. Just laughing about nothing. And 
from that moment on, Jolson was Uncle Al to 
Davey. One day after they had gotten well 
into production. Mrs. Lee asked Jolson why he 
had been so sure that Davey was the right 
boy for the part. 

" I got it right in the heart the minute I saw 
him," he said. .And that, in a sentence, is the 
secret of this four-year-old's success. . . . 

But Frankie says this is not the end of the 
story. He says that his dreams will yet come 
true. And just to prove it, he's rebuilding his 
shattered air castles. 




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Questions and Answers 



[ CONTINUED FROM PAGE 85 ] 



G. F. I., Omaha, Neb. — These weird and 
fj.ntastic tales, told by returning Hollywood 
tourists, keep this old boy busy. Your friend 
is "warpish," all right, because Douglas Fair- 
banks is si.x inches taller than Charlie Chaphn. 
In fact, you guessed Doug's height exactly — 
five feet, ten inches. And Doug weighs 145 
pounds while Charles 'tips the scales at a mere 
125. Show this to the girl friend and put her 
to shame! 

Maude S., San Francisco, Calif. — Okeh. 
It was the late Nat Goodwin who appeared in 
"Business Is Business." 

W. C, Bartlesville, Okla. — Joseph Schild- 
kraut played Judas in "The King of Kings" 
and Pontius Pilate was enacted by Victor 
Varconi. I don't think that Nils Asther is 
going to retire. 

M. R. L., Omaha, Neb.— "7th Heaven" 
was written by Monckton Hoffe, and "What 
Price Glory" was adapted from the play by 
Lawrence Stallings and Maxwell Anderson. 
Is that what the movie dirctor told you? 

"SunnyTennesseeans"— Clara Bow's very 
first picture was "Beyond the Rainbow," re- 
leased Feb. 26, 1922. What a great day in 
history! Billie Dove's real name is Lillian 
Bohny. James Hall's first picture was "The 
Campus Flirt." No, he never has played with 
Mary Brian. Richard Di.x entered the movies 
in 1921. Mary Brian hasn't told me about any 
engagement. And Clara's hair is red. 



K. McG., Carthage, Tenn. — Larry Kent 
played in "Her Wild Oat"; Ralph Forbes in 
"The Latest From Paris"; Richard Arlen in 
"Figures Don't Lie"; and Orville Caldwell in 
"The Patsy." Always glad to help out the 
owners of scrap-books. 

F. J. G., PtJEBLO, Colo. — Here's where I 
take a deep breath. Dolores Costello is about 
twenty-three years old and unmarried; five 
feet, four inches tall and her newest picture is 
"The ]\Iadonna of .Avenue A." Madge Bel- 
lamy has dark brown eyes and is fi\-e feet, 
three inches taU. Her newest is "iVIother 
Knows Best." Alice White's next picture is 
"Bad Baby." John Mack Brown is twenty- 
three years old and has black hair. He's si.x 
feet tall. Whew! 

Martha S., MICHIGAM^EE, Mich. — Greta 
Garbo was born in Stockholm, Sweden, twenty- 
two years ago. She has light golden brown 
hair and blue eyes. No, I don't think she is 
going to marry John Gilbert. Pearl White is 
very much alive, even if she isn't playing in the 
movies. When last heard from. Pearl was 
operating a Casino at Biarritz, which is a very 
Biarritzy place. And it is a big Casino, not a 
little Casino. Write to Greta and John at the 
Metro-Goldwyn-Mayer Studios, Culver City, 
Calif. 

"Pesty," Chicago, III. — Dorothy Se- 
bastian's real name is just that. And Joan 
Crawforc} has blue eyes. Am I prompt, or am 
I not? What cause, please, to get so sarcastic? 



A. C. R., ToRSiNGTON, Conn. — Billie Dove 
and Bcbe Daniels are both American, although 
Bebe has a mixture of French, Spanish and, 
Scotch ancestry. Baclanova is a Russian- 
born in Moscow. Eugene O'Brien and Mae 
Murray are both on the stage. 

E. F. R., Dallas, Tex. — Janet Gaynor and 
Nancy Drexel aren't sisters. I have no record 
of the actress you mention. 

P. F. K., Boise, Idaho. — Anita Page's real 
name is Anita Pomares. She was born in , 
Flushing, L. I., Aug. 4, 1910. Blue hair and 
blonde eyes — I mean blonde hair and blue 
eyes. Olive Borden was born in 1907. She is 
half an inch shorter than Anita, being only' 
five feet, one and one-half inches tall. Jet 
black hair and dark brown eyes. And neither 
Anita or Olive is married. 

Ben W., Montgomery, Ala. — " Satisf}'ing ' 
other people's curiosity" is not only my bread 
and butter, but also my cake. Bring on your 
questions! Clive Brook is thirty-seven years 
old — a fascinating age. Walter Byron is \'ilma 
Banky's new leading man. And Phyllis 
Haver's new pictures are "The Shady Lady" 
and "The Office Scandal." 

Patsy Chandler, Lima, O. — Conrad Nagel 
is married to Ruth Helms, his first and only 
wife. Ramon Novarro is single. Write to him 
at the JMetro-Goldwyn Studios, Culver City, 
Calif. You have a lot of accomplishments, but 
I can't give long distance screen tests. 



Ten Years Ago in Photoplay 



WELL, Santa Claus— disguised as INIr. 
Adolph Laemmle Loew — is bringing 
good Httle stars pretty new contracts, 
and we have disposed of the enemy overseas. 

Now we are socking toe to toe with a new 
foe — the little Spanish Influenza bug. 

The flu epidemic has knocked the movies 
for a row of ice-packs. 

Picture houses all over the country are nailed 
up by the plague. 

And as fast as players finish current pictures, 
they are being given four week layoffs while the 
photoplay catches up to itself. 

The flu has already taken its greatest toll. 

Harold Lockwood has just died — fine, big, 
handsome Hal; the first prime favorite of 
filmland to pass at the top of his game. 

His going breaks up one of the happiest of 
co-starring teams. May .Allison has been his 
teammate in many pleasant pictures. 

And Bryant Washburn has been a mighty 
sick boy, too, but is on the mend. 

THED.\ B-ARA, first of the great movie 
man-maulers, has just crashed out with her 
"Salome." 

Mr. Juhan Johnson (now editor of Para- 
mount Pictures) takes a long, looping hay- 
maker at it in the current "Shadow Stage." 

"As Salome," says the learned Johnson, 
"Miss Bara does not resemble the tigerish 
princess of Judea so much as a neurasthenic 
taking sun baths." 

OUR leading editorial takes a ringing smack 
at the pretty leading men who funked out 
on the war, parading the boulevards while 
less sturdy stars massaged warship decks or 
did squads east with the doughboys. 

.And there is mention of the gold star for 
young S. Rankin Drew, who died on active 
service with the air service in France. 



THIS month also turns loose a picture about 
tlie death of Edith Cavell, the English 
nurse executed by the Germans for aiding the 
escape of prisoners. 

Dr. Johnson gives it okay, praising the 




HAROLD LOCKWOOD 

At the crest of his career, the pop- 
ular Harold Lockwood died ten 
years ago, a victim of flu. He •v/2iS 
the first prime favorite of filmdom 
to pass 



work of Miss Julia Arthur, legitimate actress, 
in the lead. Little did he reck that in 1928 an 
English picture on the same theme, with 
Sybil Thorndike in the lead, would strike 
American screens and rebound without a 
sound. 

"N/TADGE KENNEDY is a popular star for 
■^'•'•Gold\\'yn, and Mae Marsh is starring in 
"Pride of Kentucky" for that outfit . . . Alice 
Joyce's new picture is "The Captain's Cap- 
tain," and Maurice ("Dimples") Costello is 
already relegated to a character part . . . Two 
pages of Sennett bathing beauts, with Phyllis 
Haver, Harriet Hammond, Virginia Warwick, 
and Ethel Lynn leading the skin parade . . . 
Who's this in the picture gallery but one 
Texas Guinan? . . . She's making Westerns 
. . . Others — Marjorie Rambeau, a Peggy 
Hopkins (Joyce) and Betty Blythe, all curves 
. . . Billy T. of Toledo is breaking her heart 
over Jack Pickford . . . Want to be an old 
meany and check up ages? ... In January, 
1919, Bryant Washburn is 29, Billie Burke 
is 32, Mary Miles Minter is 16, Kenneth 
Harlan is 23, Dorothy Dalton is 25 and the 
Answer Man is going mad . . . John Collins, 
Viola Dana's husband, has just died of the flu 
... He was only 28. 

"T^HE big smash picture of the month is 
■*- "The Squaw Man." 

.Actors? Oh, a few ham and eggers. 

Elliott Dexter, Thurston Hall, Katherine 
MacDonald, Tully Marshall, Noah Beery, 
Ann Little, Theodore Roberts, and Jack Holt 
— the last as that varmint, Cash Hawkins. 

NO, B. A. G. of Providence, Mr. Chaplin 
is NOT married to Miss Purviance. More 
than that. Miss Purviance is not married to 
Mr. Chaplin. 



Photoplay Magazine — Advertising Section 



103 



Gossip of All the 
Studios 

[ CONTINUED FROM PAGE 88 ] 

If Mr. Locke meets with the characteristic 
adventures of authors in Hollywood, headlines 
such as the following may anjiounce his 
departure: 

W. J. LOCKE, 65 
LOOKS 95, OUT 

AS FILJSI WRITER 

STRANGE ariid tragic circumstances sur- 
round the death of Arnold Kent. He had 
struggled hard for success and the chance of 
making his mother and sisters in Italy com- 
fortable. He took out an insurance policy 
of S45,000 to go into effect on October 1, 
Monday. The accident occurred the Friday 
before. He died Saturday. Had he died at 
midnight Sunday, his family would have been 
well provided for. 

At the time of his death he was playing an 
important role in "Four Feathers" and, 
according to Dick Arlen, was stealing the 
picture. Dick appreciated the boy's worth as 
an actor. Rumor has it that the reason Xorma 
Talmadge's picture, "The Woman Disputed." 
was entirely re-made was because Kent stole 
every scene from Gilbert Roland. 

He was on the verge of buying a beautiful 
home in Taluca Lake Park and his money was 
so tied up that at the time of his death he 
had but $60! 

AFTER completing his final shot 
for the "Redskin" at Chin Lee, 
Richard Dix arrived at Gallup, New 
Mexico, late at night, tired and 
weary, grabbed a pen and signed the 
register at El Navajo hotel thusly : 

"Richard Dix— Chin Yourself, 
Arizona." 

INSTEAD of the command "Camera!" the 
word "Interlock" is used on a talkie stage 
when a scene is to begin. 

The other day William de Mille was directing 
a romantic moment for "Half an Hour" with 
Ruth Chatterton and John Loder, the young 
English actor. 

"Interlock," said the director. 

Loder took it seriously and immediately 
ent%vined his arms around Ruth. 

LESS than a year ago Hugh Herbert, former 
vaudeville hcadliner, and prolific writer of 
sketches, was under contract to W'arner Broth- 
ers, furnishing material for Vitaphone sketches. 
It was during the lean days, financially, and 
Jack Warner asked Herbert as a favor to 
him to take stock in lieu of salary. Herbert 
did. He took a block of stock when it was 
listed at 17. He sold it when it was 139. 

"D EMEMBER Doris May, the little girl 
■'-^who played ingenue leads a few years ago? 
She married Wallace McDonald and retired 
from the screen and now she has her inter- 
locutory divorce decree. 

Doris was bored with home life generally. 
She wanted to go abroad and she thought a 
trip to Europe would be much more interesting 
if she made it as a single woman, so Wallace 
obligingly allowed her to get a divorce. He 
will make her a comfortable allowance while 
she is away. All the time he is hoping she 
will have a yen for home life again before the 
divorce is final. 

In the meantime, Wallace is more in demand, 
both as director and actor, than at any previous 
date, to say nothing of his popularity with the 
ladies. We suggest that Doris make her stay 
in Europe brief, if she hopes to find him un- 
attached on her return. 







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Twinkle, Twinkle, little star — 
I don't wonder what you are, 
I know all about your capers 
Just by reading Sunday papers. 

AN e.xecutive walked into the casting office 
of a well known "talkie" studio and 
advised the casting director in this manner, 
"Got a new talking find for you, Joe. He's 
playing Movietone now at the Cathay Circle. 
Fellow named Shaw." 

"Yeah? What's his other name, what sort 
of an act's he got?" 

"George Bernard. Does a monologue." 

"Not interested in monologues." 

"But this guy is good. I understand he 
plays Hillstreet next week." 

The casting director called the manager of 
the HiUstreet Theater and asked if he had an 
act of George Bernard Shaw, a guy with a 
monologue. 

"Nope," was the response. "We haven't 
any Shaws booked, but if he plays our time 
I'll give you a buzz." 

SOME time ago Dorothy Sebastian played 
for a short period as John Barrymore's 
leading lady in "Tempest." Then something 
happened and Miss Sebastian was no longer 
leading lady for JohnBarrymore in"Tempest." 
Just what it was that happened, no one ever 
knew for sure. Those in the know, however, 
say that it was a political conspiracy between 
Sam Taylor, who joined the Barrymore com- 
pany as director after finishing Mary Pick- 
ford's last picture, and Mr. Barrymore him- 
self. It fell upon John Considine's shoulders 
to let Miss Sebastian go, which he did as 
painlessly as possible. One of the sops he 
offered was the two reels of film in which Miss 
Sebastian had appeared with Mr. Barrymore. 
And these two reels, by the way, are very, very 
beautiful. 

Now Miss Sebastian gets quite a kick out 
of showing the reels upon occasion. 

Those who view the reels get a kick out of 
comparing the work of Miss Sebastian with 
the work of Camilla Horn, the German actress 
who replaced her as the Barrymore lead. 

We understand that Mr. Considine's gallant 
gesture represented the sum of $100,000, that 
being what it cost to produce these first two 
reels. 



TPNICK ARLEN'S dusky man of all work, 
-*— '^John, is about to become a bridegroom. 
He has requested his master to act as best man. 
There is great excitement in the house! The 
other day John presented himself before his 
employer. "Look heah, Mistah Ahlen, Ah 
was just wonderin' if yo-all had a pair of spats 
you cud loan me?" 

Dick would have gladly complied with the 
request, but he's probably the only actor in 
town who doesn't own a pair of spats. The 
wedding, it appears, will take place at high noon ! 

npHESE large Swedish gentlemen seem to 
-^ have the most quaint sense of humor. At 
a studio party to celebrate the completion of 
a new Dane-Arthur atrocity, Karl playfully 
turned a fire hose on the assemblage. Now 
wasn't that cute and didn't everybody laugh? 
My dear, it's just too adorable the way these 
actors carry on. 

THE cafe is so close to the sound 
stage at First National that 
either the cafe will have to be 
moved or the soup course eliminated, 
says Alice White. 

rjRED NIBLO was recently asked by a well- 
■'- meaning welfare worker if most film stars 
found time in their busy careers for homes and 
housekeeping. The director replied solemnly, 
"A home! What does any modern girl need 
with a home? She is usually born in a hospital, 
educated in college, courted in a car, and 
married in a church. The routine of those out- 
side of studio duties include mornings on the 
golf course, afternoons at bridge tables, and 
evenings at the movies. Apparently all the 
modern girl requires is a garage!" 

ROD LA ROCQUE and Vibna Banky were 
separated for several weeks while Vilma 
was in New York doing a picture. Both made 
a verbal pact that they would keep a motion 
picture record of all their experiences. They 
are amateur camera fiends, you' know. It 
was agreed that Vilma was to take movies of 
everything that happened to her on the trip, 
while Rod was to give a complete movie account 
of himself in Hollywood. 

It's a thought for separated couples and the 
camera doesn't lie. 




With Director Bob Leonard holding a stop-watch and a property 
man furnishing sighing sea breeze with an electric fan, how can 
Norma Shearer and Johnny Mack Brown get hot and bothered on 
this romantic moonlight chair- ride? It's a scene from Metro- 
Goldwyn-Mayer's "The Little Angel." And how do you like Bob's 
Kamera Kiddie Kar? 



Every advertisement In PHOTOPLAY MAGAZINE Is guaranteed. 



Photoplay Magazine — Advertising Section 



105 



Imagine My 
Embarrassment 

[ CONTINUED FROM PACE 74 ] 



He has that all-essential thins, Youth. And 
he has personality — just another name for 
"IT." He has rambled and touched hands with 
life all over the world — cattle steamers and the 
like — merely for adventure's sake and the 
sheer joy of living. 

He boxed in the last Olympics. He is a 
Harvard graduate. An unusual combination, 
to be sure. 

He was born in Boston, the home of the 
bean, and he is proud of it. 

And if he doesn't win with all these qualifi- 
cations, maybe he will yet have an opportunity 
to view California in the bumpiest way. When 
he first arrived in Hollywood he purchased a 
pepped-up flivver, intending to tour the state 
and then to drive across the continent to 
Boston and home sweet home. 

But that all happened before he lunched at 
the Montmartre! 



What Do You Mean 
—Intellectual? 

I CONTINUED FROM PAGE 57 ] 



good orgy of conversational bromides. It's so 
comfortable to be able to let off a bromide now 
and then. 

Fancy how you'd feel if everyone you met 
drew you aside and sounded off one brilliant 
remark after another. The strain would set 
you counting your fingers. 

Poor Aileen Pringle! She has become a 
symbol — the incarnation of a Large and 
Fruity Mind! 

Her bon mots are passed from mouth to 
mouth until they lose their quotation marks 
and are palmed off as originals. People 
swoon and he in heaps on Hollywood Boule- 
vard if she makes a remark that doesn't ring 
like the schoolhouse bell. 

And the horrible thing is that it is all a great 
big bobble! 

."Mleen didn't go for this sort of reputation 
as literary lion and pet of the high foreheads. 
It was wished on her by space grabbers, 
columnists, smart Alecks and tub-thumbers 
in general. 

If you mention it, Aileen looks at you 
aghast and says "What do you mean — intel- 
lectual?" And means it. 

How did La Belle Pringle get that way, and 
what if she did? 

.Aileen, a naturally clever person, doesn't 
crave bores. And you can't sue a girl for that. 
She discovered early in life that there were a 
lot of people who made her acutely tired, and 
so, when they rang the bell she was out. Then 
she found a group of people who stimulated 
her, and they were always welcome. Certainly 
no catch in that. 

It just happened that some of the boys and 

girls who didn't bore her made good livings by 

writing books and pieces for the magazines. 

Suppose the people who didn't bore you 

were plumbers. 

Would you relish being called "The Pet of 
the Pipe-Pounders"? 

But just because Aileen liked people who 
wrote things she was dubbed "the darhng of 
the intelligentsia." Every time she was 
caught saying howdy to a pen pusher old 
meanies whispered that she had added a new 
lion to her literary zoo. 

Aileen isn't a social lion chaser. The only 
lion that ever cracked her across the conscious- 



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Colleen Moore exhibiting that irreproachable set of teeth to 
Ambassador Myron T. Herrick on the First National lot, during his 
recent Hollywood visit. His Excellency is no doubt saying some- 
thing gallant. What did they give him the Legion of Honor for? 



ness is the M.-G.-M. trademark who snaps at 
three flies before one of Mr. Mayer's opera 
unfolds on the screen. 

She didn't make any effort to be known as 
the favorite of the smart boys. She has never 
let out a line of publicity to the effect that 
writers and wits can be found in every nook 
of her home. 

This greatness has been thrust upon her like 
a rubber check, and the funny part of it is 
that her intellectual friends are just great 
playmates and regular people. They never 
attempt the high hat with her, and she doesn't 
play that way either. 

She just looks at you wide-eyed and says, 
"What do you mean — intellectual?" 

And I can assure you that I had a rocky 
time getting Aileen to talk about them at all! 

npHIS is, in fact, the first time she has ever 
•I- done it! 

"The idea is," said Aileen, "that if you 
meet one of the people who write or paint or 
make epigrams, you meet them all. They come 
in bunches, like — " 

I held up a warning finger. 

"Here, my lady," I warned, "if you are 
going to say 'bananas,' it's out. You can't be 
bromidic. Think of your pubUc. You must 
be intellectual or else!" 

"Or else, then," said Aileen, and I prayed 
that she wasn't cross, "I don't know any 
people who expect me to be intellectual. I 
don't know any bores. There is a sort of 
closed corporation here. I like the people I 
like. One doesn't have to be clever with 
clever people." 

"But your public expects it." I threw this 
harpoon with deliberation and malice. 

Aileen mumbled something which was 
muffled by the creamed chicken. 

I have an idea she was mildly miffed, in a 
nice way. 



So I stopped teasing, and let her talk. 
That's about the easiest thing anyone can do. 

It was probably Joseph Hergesheimer, the 
novelist, whose friendship with Aileen started 
The Great Pringle Intellectual Legend. 

She met him in Cuba, it seems. She had 
almost met him once before. Someone 
thought she would be interested in the author, 
and introduced them over the phone. Her- 
gesheimer said he would call at her hotel, but 
that afternoon Aileen was run down and 
cornered by a feminine pest, and she said some- 
thing about another appointment and fled 
the inn. 

Hergesheimer wrote her a note to the effect 
that he was sorry he'd missed her. It wasn't 
a clever note at all — just the sort you or 
I would write if we had missed out on a meet- 
ing. 

But in Cuba they met, and Hergesheimer 
made himself known. Probably he merely 
said, "How do you do, Miss Pringle? I'm 
Joe Hergesheimer. I'm sorry I missed you 
that day in New York," 

THEN Ralph Barton, the caricaturist, wanted 
her to meet H. L, Mencken, critic and 
editor, Mencken, oddly enough, bucked. He is 
a shy bachelor, for all his literary fireworks, and 
balks at meeting women places. So when 
Barton arranged a get-together dinner at his 
home, Mencken suggested another location, 
and Aileen couldn't be brought along to grace 
the meal, 

Mr, and Mrs, Hergesheimer were coming 
back from somewhere (Aileen is always some- 
what vague about page and number) and 
people met them at the boat. The 
Hergesheimers and Mencken and Aileen all 
found themselves in the same motor. Aileen 
got some California climate in her eye and 
Mencken showed her the most approved 
method of rolling the lid over a pencil. Oh my 



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dear, what a lot of things have started 
that ! 

There have been many other friends in the 
artistic world. The Ernest Boyds, Carl Van 
Vechten, Theodore Dreiser, George Jean 
Nathan, Rupert Hughes, Thomas Beer, 
Konrad Bercovici — just all the people who 
circle about in that smart set. Aileen liked 
them — they liked her. 

Any cause there for calling her an "in- 
tellectual" in some vague, derogatory, high- 
brow sense? 

These people, oddly enough, play just the 
way we do, only much simpler. They'd 
rather play lotto than bridge. 

Once when Aileen was visiting Joe and 
Dorothy Hergesheimer, she walked out on 
the back lawn and found a perfectly divine 
place for a croquet set. 

"You really must have croquet here," she 
said. 

"No, I won't," said Joe, pugnaciously, 
"You fall over the wickets, and the balls 
skin your shins. And it's a silly game, any- 
way." 

This didn't slow La Belle Pringle. Back in 
New York, she sent the Hergesheimers the 
smartest croquet set jhe could find. The 
mallets were red and gold, and each wicket had 
a candle on top so the game need never be 
called on account of darkness. 

A FEW days later she and Mencken were 
-^ ^ calling. 

"Joe, did you get a little gift I sent?" asked 
.\ileen. 

"I did," said the novelist, "but I'm trying 
to forget it. I think it's under the sink. At 
any rate, it will be set up over my large dead 
body." 

That afternoon, while the Hergesheimers 
went oflf stalking antiques, Aileen and Mencken 
put up the set themselves. They howled over 
it, and the wickets were cockeyed and the 
staves wouldn't go in, but there the croquet 
set was, up and active. The Hergesheimers 
gave in. 

Anything highbrow about that? 

Such are the simple pleasures of the lords 
of the mind. 

Of course, many know the gag that Mencken 



Photoplay Magazine 

lik 



-Advertising Section 



107 



'and .\ilccn pulled on Hergesheimer when he 
arrived in Los Angeles. They met him at 
the train with a domino, and conducted him 
with much fanfare to his hotel, where his 
room was decked with crepe paper and bunt- 
ing. _ 

Cigars were passed and speeches piade — 
in short, a regular greeting of the sort that 
delights Mencken in his studies among the 
"Boobus Americanus" tribe. 

pOR the most part, however, Aileen finds her 
•*- chief pleasure with her friends in goo<l, 
pleasant talk about everything in the world. 
(When Mencken gets to a town he looks first, 
not for the leading literatus of the place, but 
for a good glass of beer.) Van Vechten enter- 
tains for her in New York, and she for him in 
Hollywood. The parties are small, and the 
evenings are talkfests, and not tall millinery 
talk either. 

Now, the point of this story, if it has a 
poiat, is that Aileen Pringle is a really intelli- 
gent woman. There is nothing I'd rather do 
than spend hours with her. 

When you're bidden to luncheon you seldom 
go into the dining room. You eat from trays 
in the sitting room, where the talk flows fine 
and free. 

Her con\-ersation is genuinely witty and 
tremendously absorbing. She is very clever. 
She was once offered an editorial job on 
"Vanity Fair." 

But remember that she's not a posing high- 
brow. Remember that she's no pubUcity 
beagle. 

She has never talked about her writing 
friends before, and she never collected one 
genius for mere collecting's sake. 

She likes them, that's all, and they like her. 
They talk the same language, and they do 
amusing, ordinary, homey things. 

The intellectuals are good playmates, and 
just because a gal happens to be an actress is 
no reason why she can't pick her friends from 
sparkling minded men and women. 

And that's all there is to the legend of 
Aileen Pringle as Hollywood's Great Aloof 
Mind. 

No more hooey, please, about .Aileen as the 
Pet of the Sophisticates. 



Good Girl 



I CONTINtlED FROM PAGE 100 1 



"Poor old Ellen!" said her listeners. It was 
"PooroW Ellen" now. 

Some unkind soul wrote Ellen enclosing a 
clipping from an interview with Ken. ... He 
"couldn't stand a gaga." His taste "ran to 
women of the world. 

"There was something pathetic about per- 
ennial ingenues" . . . 

Ellen let Randall Peters, the business man- 
ager, take her out that night. Hereyeswerevery 
bright, but hard instead of soft, and her smile 
seemed frostbitten. She asked for a cigarette 
and drank a second glass of white wine. Mr. 
Peters was rather slight, his hair was thin and 
he stammered. But he hstened beautifully. 
He heard all about Ken before the evening 
was over. 

"V\ THEN the year was up, Ellen came back to 
''» Hollywood. Ken was standing outside 
the Athletic Club when she passed. . . . She was 
sitting on her spine at the wheel of a low 
foreign-looking car, speeding so that he caught 
only a glimpse as she flashed by. She had 
bobbed her hair. The carmine line of her lips 
was like a flame in the dead white of her make- 
up. 

"Ellen's gone flapper," people said, as they 
caught sight of her darting into the Ambas- 
sador, running up the Montmartre stairs, or 
hurrying out of a studio. She was always 



rushing. Her hair was a little shorter than 
anybody's and so were her skirts. She said 
"si" for "yes," "cara mia" for "my dear" 
and wore a flame-orange sport coat that she 
called "my Rome rag." 

CHE swept her bewildered brother out of the 
^bungalow and into a purple house that 
sprawled on the side of a hill, bedrooms open- 
ing on a lower road and kitchen on an upper 
one, a devotee of new art "doing" the place so 
that it looked as if it had been decorated by a 
persevering child. Randall Peters said it 
would be a good place for a squirrel to go 
hunting. 

Ken came up to see it and Eflen greeted him 
with a kiss. "Cara mia, what absolute ages 
since I saw you! ... I've been dying to find 
out who's your bootlegger. Do send him 
around — we get the vilest stuff!" 

She was smoking a cigarette that matched 
her costume; the costume itself, of poppy-red 
and black, could have been packed in a vanity 
case. 

She was more animated than Ken had ever 
seen her, but when he had left she stood at the 
tiny barred porthole in the purple door very 
quietly, her carmine lips trembling, the light 
gone from her eyes. 

Mariie and Ellen found themselves chorus- 
ing, "Have you no vices?" when little Janet 




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Gates refused a cocktail at the opening of the 
newest club. They looked at one another over 
their own glasses. 

"If it isn't little Bright Eyes!" cried Marjie. 
"My dear, you look like an illustration from 
some frightful modern book. Where've you 
Ijeen? . . . Oh, yes, that god-awful picture. 
I saw it! . . . Hope you landed a tame duke 
over there. . . . Have you heard? But of 
course you have! Wonder Tim AUingham 
doesn't tumble. Gertie Alhngham was always 
a perfect idiot, and even if Tim is out of town 
this week — " 

It was five minutes before Ellen knew what 
she meant. Then Ellen's eyes that had been 
searching restlessly ever since Randall Peters 
had brought her, found Ken Laurel. He was 
bending over Gertie AUingham. Her soft 
blonde hair was growing and hung in loose 
curls on her neck. Her dress was long, the 
white net falling to her ankles, though the silk 
slip stopped at her knees. She looked like 
an old-fashioned valentine, and Ken — there 
was something about the way he looked at 
her. . . . 

"Tim'sa jealous beast. . . . This gin tastes 
like bad varnish. . . . Ken'd better watch his 
step or he'll find himself on the outside looking 
in, if not too badly damaged to look at all. 
His fan mail's fallen off. . . . What? Well, 
nobody loves a fat man!" 

Ken danced once with Ellen. Only Ellen 
knew that that was because she asked him. 
.-Vnd only Ellen knew that while she was in his 
arms her heart was crying: "Oh, love me! 
Love me!" 

"D ANDALL PETERS had gone ahead to 
■t»-bring his car to the door when Ken left the 
club, so tliat several people saw Ken and Ellen 
go down the covered way together. Ellen was 
glad of that until she saw that all his atten- 
tion was centered on the door behind them. 
Mrs. Allingham's blonde head was visible 
through the glass. 

Randall made the difficult curves up to the 
purple house in silence. He had a gift for 
knowing when Ellen couldn't chatter. She 
could be her real self with him, not the smart, 
sophisticated stranger who had come home 
from Italy. 

"Th-that's your phone, Ellen. Shall I 
answer?" he said, when he had unlocked the 
purple door. He took the instrument out of its 
jazz cabinet. "H-hello . . . Who wants her? 
. . . It's K-ken Laurel." 



She seized the receiver. "What is it, dolce 
amone? . . . Si — si, this Our NeU. . . . Oh! 
Oh, I see. ... On the MulhoUand Drive. . . . 
Is she — badly hurt? . . . Yes — yes, I'll come." 
Yes, instead of i; — . . . She put the telephone' 
back in its cabinet, with fingers carefully 
steady. "What time is it. Randy?" 

"T-two twenty. Where are you going?" 

She shrugged into her white and silver cloak. 
"Ken's car turned over on Mulholland. Mrs. 
Allingham's hurt. He wants me. He's bpen 
calling for ages. If we hadn't gone to the 
beach before coming home — " 

"I'll go. Don't to;« — " 

She pushed past him and ran out to the car. 
"Hurry! Oh, don't lalk — hurry! Someone 
else might get there — " 

"What if they d-do?" But he was at the 
wheel. 

"T_riS career's ruined, that's what! Tim 
-'■ -'-.Vllingham would either shoot him or name 
him in a divorce suit. . . . Can't you go faster? 
. . . No, I (/oh'/ think he was drinking! Oh, let 
us get there!" The high coUar of her cloak had 
ruffled her short hair so that it stood up 
wildly; she could not keep her hands still. 

Through the black night they sped, their 
lights pricking the dark ahead — curve after 
curve, hill after hill. . . . At length: "Ken!" 
on an uptake of Ellen's breath, and Randall 
slowed under a giant eucal>ptus. There was 
a scratch across Ken's face on which the blood 
had dried. 

"She's back here." Ken hfted Ellen from 
the car. "Ellen, I knew you would! ... I 
don't know how bad she's hurt, but I can't 
moA-e her. . . . Listen . . . You've been with 
us all evening . . . You and I — i/ze was just — 
just along, see? . . . We've got to get her to a 
doctor. Y'ou've got to be :;'///; her, see?" 

"I won't have Ellen m-mi.xed up in this!" 
cried Randall. 

But she mer^y patted his arm and ran 
toward the overturned roadster. Part of it 
pinned Gertie AUingham to the asphalt; her 
fair curls lay limply against the fluff of pink 
shawl that had billowed up as she fell; the net 
of her skirts was torn and muddied, and one 
of her arms was bleeding. 

"Move the car," directed Ellen. She tugged 
at the girl when, between them, the men had 
managed to lift the weight. "There. . . . 
Carry her, one of you. I'll hold her in the back 
seat. We'll take her to my house and call a 
doctor." 




Filming a scene on a new war machine. This big bombing plane, 

capable of destroying whole cities, is held captive while George Hill 

directs some scenes for "Gold Braid" 



Every advertisement In PHOTOPliAT MAGAZINE Is guaranteed. 



Photoplay Magazine — Advertising Section 



109 



She told Gertie, efficiently and gently, as the 
old Ellen would have done, but she did not 
talk as Randall drove through the graying 
morning. Let Ken and Randall argue. . . . 
What did it matter? . . . What did anything 
matter? 

Gertie lay in one of the green-and-orchid jazz 
beds in the spare room of the purple house, 
clad in an apricot silk gown of Ellen's. The 
doctor bent over her, absent-mindedly cursing 
the ruffle-dimmed lamps. In the hall outside, 
Randall and Brother, the latter in a shabby 
dressing-gown and slippers, waited and wor- 
ried. From the hall above, they could hear 
Ellen's hard little voice telephoning to Gertie's 
mother. 

"She's going to be all right, the doctor says. 
Slight concussion, yes. He said slight. She 
can come home tomorrow ... I'm so sorry — " 

The first newspaperman called up before the 
doctor left. 

"'T'HIS is Ken Laurel," said Ken, at the in- 

-'■ strument. "Yes, most unfortunate. Why 
— a — Miss Field and I were leaving the new 
club when Mrs. Allingham found there'd been 
some mistake about her car — calling her car — 
so we — . . . Yes, MulhoUand . . The car 
turned over — hit something and skidded — Mrs. 
Allingham was pinned under it. Miss Field has 
a few bruises but nothing . . . Not on the way 
home! No. we decided to look at the ranch 
we're thinking of buying — . . . What? . . . 
MissFieldand I . . . We're getting married — " 

"OhI" cried Ellen, softly. Brother had in- 
sisted on putting her warmest negligee over 
her brief evening gown. The blue feather 
trimming stood up about her head. She looked 
like a tired child in her corner of the settee. 

"We're giving notice of intention today," 
went on Ken, eying Ellen over the transmitter 
with the gaze of one consciously noble. 

He was still looking noble when he set down 
the telephone and came over to kiss her . . . 

She didn't go to bed at all, just hopped into a 
bath and dressed for an early call, dashing off to 
spend the day being pursued by a screen 
menace up and down a plank and plaster hill 
on one of the largest stages. Her legs ached 
so that they shook when she stood still. 

Ken called for her at noon, conspicuous in 
the rose brocade of a court costume with 
queued and powdered wig and black beauty 
patches accentuating his sea-blue eyes. 

"We've just time to dash to the license 
bureau," he said, wrapping a fur coat about 
her ragamuffin garb. 

"But — " she began, and in spite of it found 
herself beside him in his topless racer. 

News cameras, doubtless notified in advance, 
clicked as they left the car, as they entered the 
building, and again as they signed their names. 
Ellen tried to hide her roughened hair, to wipe 
off some of the grimy streaks her make-up 
had demanded, to dodge behind Ken at the 
last instant, but he seemed to enjoy the pro- 
ceeding. He gave his age as twenty-six, 
though she knew he was seven years her senior, 
so she reduced hers to twenty-four. 

They reached the studio just as Ellen's 
scene was being called. It was Randall Peters 
who remembered she hadn't had luncheon and 
brought hot soup in a thermos bottle. 

■[^EN'S shadow lay across Ellen's plate as 
■'-^they sat at Marjie's Cocoanut Grove table 
— a watery, blurry shadow cast by the gay 
parrot lamp the other side of Ken. Ellen's 
tired eyes rested on it, but she couldn't remem- 
ber what it should have brought to mind. She 
was so weary. She hadn't wanted to go when 
Marjie had called up to announce a dinner- 
dance "in honor of your catching Ken," but 
the bridegroom-to-be had overruled her. 

"It's good business," he said. "Ought to 
get alotof publicity out of this." 

He was a bit impatient with her for being so 
tired. After all, he had been up all night, 
too! . . . He hadn't been running away from 
a husky villain all day, though. And he 
wasn't shaken up over being engaged at 
last. . . . 




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Photoplay Magazine — Advertising Section 



What $1.25 

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More than a thousand 
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"Show Dick your ring, Ellen," he directed, 
over his shrimp cocktaU. 

She held out her finger obediently, and the 
big diamond flashed under the lights. She 
tried to look pleased, but her dream ring had 
been a circlet of tiny stones with "Forever" 
engraved inside. 

" Set me back quite a bit," boasted Ken. 

He paid little attention to her save for 
moments of overacted devotion which left her 
hot with confusion, and jokes directed at her, 
such as: "She got me at last, boys!" "Wait 
till after the divorce — " 

Ellen made a little noise that passed for 
laughter at these sallies, but she heard them 
only vaguely. The vision of bed swam before 
her eyelids, — white-pillowed, soft and warm 
and quiet . . . Bed, Sleep — Sleep. . . . 

They were laughing again. She didn't care 
why. 

She looked at Ken, seeing him with a sudden 
frightening clarity, — a man with pouches of 
dissipation under his eyes, a tendency to a 
double chin and a paunch — selfish, self- 
centered, gross . . . Slie was engaged to tins 
man! 



The blurry shadow across her plate lifted. 
Ken was getting up. 

"Come on, Marjie, let's do some stepping. 
. . . Ne'mind thebaU-and-chain." 

But she did run away. 

She slipped out behind the little raised booth 
that held their table, scurried to the dressing 
room, retrieved her cloak, and sped on to the 
hotel desk. 

"Dear Ken," she wrote on the paper the 
clerk gave her. "Here's the ring. I don't 
want to marry you. I'm sorry. I just don't." 
She signed it "Ellen Field," and gave it to a 
bellhop. Then she ran downstairs. 

She wasn't so numb with weariness now. 
She felt free — as if someone had given her 
wings. She moved lightly down the passage 
between the hghted shops. 

It wasn't surprising to find Randall Peters 
standing near the revolving doors. It was 
merely beautiful and natural. He rushed to 
meet her. 

"Ellen! . . . Are you all r-right? . . . 
Where are you going?" 

She put her hand in his and smiled up at him. 

"Anywhere — with you," she said. 



Amateur Movies 



[ CONTINUED FROM PAGE 70 ] 



feet of film for this production has been de- 
veloped by members in the club laboratory. 
The other production will be an all-interior 
film to be directed by John B. il'IppoUto, Jr. 
Research work has been completed for this 
film and the scenery and costumes have been 
designed. Mr. d'IppoHto states that the scenic 
backgrounds will be used symbolically to evoke 
the stor.y's mood. 

FOTO-CINE Productions, an amateur club 
in Stockton, Cahf., is producing a 16 milli- 
meter film under the working title of "Three 
Episodes" for PnaroPLAY's Amateur Movie 
Contest. The plot scenario, written by Robert 
Burhans, is based upon the World War and 
the motion picture treatment has been worked 



out well within amateur limitations. A mov- 
ing camera will be used and the story will be 
told completely without sub-titles. 

Wallace W. Ward is president of Foto-Cine 
Productions, Edwin Farrell is vice president 
and supervisor«and Alice Buckle is secretary. 
Mr. Burhans, author of the scenario, is also the 
director of "Three Episodes." 

"PRINCETON," the production of the Un- 
-'- dergraduate Motion Pictures of Princeton 
University, is attracting a lot of attention 
among amateurs. Shown to the Chicago Cin- 
ema Club at a recent meeting, it was en- 
thusiastically received. The Cumberland 
Amateur Motion Picture Club, of Vineland, 
N. J., recently viewed it with approval. 



$2,000 Amateur Movie Contest Rules 



1. $2,000 in cash pri-es will be awarded by 
PHOTOPLAY as follows: 

Class One, 

$500 for the best amateur photoplay. 

$250 for the second best amateur photo- 
play. 

$1 50 for the third best amateur photoplay. 

$100 for the fourth best amateur photo- 
play. 

Qlass Two. 

$500 for the best non-dramatic picture. 

$250 for the second best non-dramatic 

picture. 

$1 50 for the third best non-dramatic 

picture. 

$100 for the fourth best non-dramatic 

picture. 
In the event that two or more films prove 
of equal merit in their consideration for any 
award, duplicate prizes will be given for each 
tying film. 

2. CLASS ONE — Devoted to photoplays, 
will embrace all pictures made by ama- 
teurs in which amateur actors appear, 
whether of a dramatic or comedy nature. 
CLASS TWO— Will include all other 
motion pictures such as films of news 
events, home pictures, travelogues, sport 
shots, studies of animal, bird or plant 
life, etc., made by amateurs. 

3. In awarding prizes the judges will con- 
sider the cleverness, novelty and fresh- 
ness of idea and treatment, as well as the 
general workmanship. Under the head 
of general workmanship comes photog- 
raphy, lighting, editing and cutting and 
titling. In Class One, added items of 
consideration will be direction, make- 
up and acting ability. 

4. All films, to be considered by the judges, 
must come within the following specified 
lengths: 

If >S millimeter, the contest film must be 
1,000 feet or less in length. 



If 16 millimeter, it must be 400 feet or less 

in length. 

If 9 millimeter, it must be 60 feet or less in 

length. 

All films must be submitted on non- 

infiammable stock with the names and 

addresses of the senders securely attached 

to the reel or the box containing the film. 

Name and address of the sender also may 

be part of the film itself. 

5. Any number of contest films may be sub- 
mitted by an individual or amateur 
organization. 

6. Any person or amateur organization can 
enter this contest. Professional cinema- 
tographers are barred, as well as anyone 
employed by PHOTOPLAY MAGA- 
ZINE or any relatives of anyone employed 
by PHOTOPLAY. Winners of PHOTO- 
PLAY'S first amateur movie contest may 
compete. 

7. AH films are to be addressed to the 
judges. The Amateur Movie Contest, 
PHOTOPLAY MAGAZINE, 221 West 
57th Street, New York, and are to be sub- 
mitted between October 1, 1928, and 
midnight of March 31st, 1929. 

8. The jury of judges consists of Professor 
George Pierce Baker of Yale, Philip K. 
Wrigley, Stephen Voorhees, Colonel Roy 
W. Winton, Wilton A. Barrett, King 
Vidor, James R. Quirk and Frederick 
James Smith. 

9. PHOTOPLAY assumes no responsibility 
for loss of films in transit and, while 
every precaution will be taken to safe- 
guard them, this publication will not be 
responsible for loss or injury in any way- 

10. As soon as possible after the conclusion 
of the contest, the prize winners will be 
announced and the films returned to 
senders on receipt of sufficient postage 
for return transportation. 



Every advertisement in PHOTOPLAY MAGAZINE is guaranteed. 



Photoplay Magazine — Advertising Section 



I I I 



Photoplay Reviews the Film Year 

[ CONTINUED FROM PAGE 65 ] 



Tom Mix and Fred Thomson will not have so 
much trouble making out their income taxes 
this year. The minor Western stars have been 
making reservations at their old ranches. 

1928 showed a preference for tough babies, 
principally blonde. Witness Phyllis Haver's 
gun-girl of "Chicago," iMarie Pre vost's belle of 
the reformatory in "The Godless Girl" and 
Betty Compson's hard boiled gals of "The 
Docks of New York" and "The Barker," not 
to mention Dorothy Mackaill's carni\al 
charmer, also of "The Barker." The advent of 
Baclanova was in this get-your-man division. 
On the other hand, more refined blondes, such 
as the heroine of "Gentlemen Prefer Blondes," 
did not win popular favor. Thus Ruth 
Taylor's debut as Lorelei attracted only a 
ripple of attention. 

Every epic film now has its theme song. 
Unless you own a radio you can't realize what 
this means. Our favorite theme song is 
"Woman Disputed, I Love You." 1929 will 



have to step some to top this maukish classic. 

If you ask me for my personal choice of the 

twelve best performances of 1928, here they are: 

Emil Jannings in "The Patriot" and "The 

Last Command." 

L. M. Leonidoff in "Czar Ivan the Terri- 
ble." 

Alexis Davor and Olga Korloff in "The 
End of St. Petersburg." 

Sybil Thorndyke in "Dawn." 
Conrad Veidt and Baclanova in "The 
Man Who Laughs." 

Lewis Stone in "The Patriot." 
Louise Dresser and Madge Bellamy in 
"Mother Knows Best." 

Baclanova in "Street of Sin." 
"The Patriot," to me, was easily the best 
American-made film of 1928. "Four Devils" 
would be my second choice. 

The two best imported pictures were "Czar 
Ivan the Terrible" and "The End of St. 
Petersburg," both Russian. 



Brief Reviews of Current Pictures 

( CONTINUED FROM PAGE 13 ] 



*RED DANCE — Fox. — More Russian revolution, 
dramatically directed by Raoul Walsh. Charles 
Farrell, Ivan Linow and Dolores del Rio head an 
exceptional cast. The picture is a real thriller. (July.) 

REFORM — Chadwick. — Wherein a mush-headed 
psychologist reforms a good-looking girl crook by 
teaching her to eat with a fork. {July.) 

RETRIBUTION— Warners.— Vitaphone with a 
bad script but our old friend, Henry B. Walthall, 
registers neatly. {Dec.) 

♦REVENGE— United Artists.— The third of the 
three "R's" of Edwin Carewe and Dolores Del Rio. 
Pictorially attractive gypsy stuff. {Ocl.) 

RIDING TO FAME— Elbee.— Does the villainous 
bookie succeed in queering the horse race and wreck- 
ingyoung love? Don't be dumb! (August.) 

RILEY OF RAINBOW DIVISION— Anchor.— 

Trivial comedy of the training camps. {Dec.) 

RINTY OF THE DESERT— Warners.— An ap- 
pealing and unusual dog story with the one and only 
Rin-Tin-Tin. {July.) 

RIVER WOMAN, THE— Gotham.— Fine and 
sincere story with a splendid performance by Jac- 
queline Logan. (Oct,) 

ROAD HOUSE— Fox.— Proving that flaming 
youth got the idea from the older generation. Rather 
hot. (Oct.) 

ROMANCE OF A ROGUE, THE— Carlos.— 

Soggy. {November.) 

ROUGH RIDIN' RED— FBO.— Buzz Barton's 
red hair triumplis over cinematic slush. (November.) 

RUNAWAY GIRLS— Columbia.— StuflFy melo- 
drama with a moral. (Dec.) 

SALLY OF THE SCANDALS— FBO.— Bessie 

Love puts life into a back-stage story that might have 
been dull. (August.) 

SALLY'S SHOULDERS— FBO.— Slightly exas- 
perating. (Oct.) 

SAL OF SINGAPORE— Pathe.— Phyllis Haver 
as a bad girl who is reformed by a little che-ild. 
Salty and picturesque background. (Dec.) 

SAWDUST PARADISE, THE— Paramount.— 
From ballyhoo artist to lady soul-saver, played by 
Esther Ralston. (Oct.) 

SAY IT WITH SABLES— Columbia.— Heigh-ho I 

Another gold-digger story. {September.) 

SCARLET DOVE, THE— Tiffany-Stahl.— Mili- 
tary life in Czarist Russia. Mostly bedroom scenes. 
Lowell Sherman — the cur — acts grand and wears as 
many gaudy uniforms as a Roxy usher. (July.) 

SCARLET LADY, THE— Columbia.— Ho-hum, 
more Russians. Silly stuff. .(Oct.) 

SEX LIFE OF THE POLYP— Fox-Movietone.— 
Gorgeous satire on a scientific lecture, by old Profes- 
sor Robert Benchley. (November.) 

SHIP COMES IN, A— Pathe-De Mille.— How 
patriotism comes to an immigrant family. (Sept.) 

SHOULD A GIRL MARRY?— Rayart— Pre- 
senting the sad problems of a gal with a past. (Dec.) 

SHOW FOLKS— Pathe.— Just an obvious story of 
theatrical people and their struggles. (November.) 



SHOW GIRL— First National.— It misses the 
piquant charm of the book but still it is an above-the- 
average comedy. {November.) 

+SHOW PEOPLE — Metro-Goldwyn-Mayer. — 
Marion Da vies and William Haines portray the funny 
side of the goof who would get into the movies. 
Recommended. (August.) 

SINGAPORE MUTINY. THE— FBO.— Life in 

coal hole of a ship — if ihtrl's what interests you. (Dec.) 

*SINGING FOOL, THE— Warners.— Saga of a 
mammy shouter. With Al Jolson. Sobs and Vita- 
phone songs. (Oct.) 

SINGLE MAN, A— Metro-Gold wyn- Mayer.— 
Aileen Pringle and Lew Cody in their best smart-set 
comedy so far. (Oct.) 

SINNERS IN LOVE— FBO.— Little gal alone in 
a big cit\'. Where have you heard that before? 

(November.) 

SIN TOWN— Pathe.— Just a poor western. (Oct.) 

SISTERS OF EVE — Rayart.— Mystery story of 
a missing millionaire who is not missed by his hard- 
hearted bride. Fair enough. (November.) 

SKIRTS— Metro-Goldwyn-Mayer. — Syd Chap- 
lin in a soggy British comedy. {September.) 

SMILIN* GUNS— Universal.— Hoot Gibson in a 
really funny one. (Oct.) 

SMOKE BELLE W— Big Four.— Conway Tearle 
returns in an Alaskan yarn. Some splendid blizzards. 
(November.) 

SO THIS IS LOVE— Columbia.— Slightly goofy 
story of a dressmaker's assistant turned prize-fighter 
— all for love. With William Collier, Jr., and Shirley 
Mason. (July.) 

SON OF THE GOLDEN WEST— FBO.— Tom 
Mix has changed his studio but not the plot of his 
pictures. (November.) 

SPEED CHAMPION, THE— Rayart. — If you 

can get steamed up over the adventures of a grocery 
boy. {September.) 

SPIELER, THE— Pathe. — Carnival life, as it 
really is. And Renee Adoree knows her atmosphere. 
A good show. {Dec.) 

SPIES — UF.A.— Metro-Goldwyn-Mayer.- Dull 
story made only slightly less dull by fantastic, 
Germanic treatment. {Dec.) 

STATE STREET SADIE— Warners.— Can you 

believe it? Another underworld story. And not 
among the best. (July.) 

STICK TO YOUR STORY— Rayart —Fun 
among the reporters. My. what a life — and what a 
picture! (Dec.) 

STOLEN LOVE— FBO.— A quickie. Try the 
show down the street. (Dec.) 

STOP THAT MAN— Universal.— Arthur Lake in 
a comedy that's a riot of fun. Watch this lad! 
(September.) 

STORMY WATERS— Tiffany-Stahl. — Eve 
Southern tries a Sadie Thompson but this story of 
love in the tropics doesn't quite come off. (August.) 

STRANGE CASE OF CAPTAIN RAMPER.— 

Defu-First National. — German picture with original 
plot. Just a bit heavy. (August.) 




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Photoplay Magazine — Advertising Section 




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STREET OF ILLUSION— Columbia.— Back- 
stage story and an interesting defense of the Tfjespian 
ego. (Dec.) 

♦STREET OF SIN, THE— Paramount.— Tech- 
nically a fine picture but the story, a brutal tale of the 
London slums, is repellent. The least satisfactory of 
Emil Jannings' American productions. (July.) 

STRIVING FOR FORTUNE — Excellent. — 
Doity woik in the siiip-yards. (November.) 

STRONGER WILL, THE— Excellent.— Just one 
long yawn. (August.) 

SUBMARINE— Columbia.— A great thriller, with 
a fine situation and some spectacular scenes, almost 
spoiled by unimaginative handling. Worth seeing, 
nevertheless. (November.) 

SWEET SIXTEEN— Rayart.— Mild but fairly 
pleasing story of a modern girl. (Dec.) 

TAKE ME HOME— Paramount.— Bebe Daniels 
in a natural comedy of back-stage life. (November.) 

TAXI 13— FBO.— Chester Conklin in the funny 
adventures of a superstitious taxi driver, (Oct.) 

TELLING THE WORLD — Metro-Goldwyn- 
Mayer. — That comical cuss. Bill Haines, goes to 
China. More darned fun, in a silly way. Anita Page, 
who makes her debut in this one, is all to the good. 
(July.) 

TENTH AVENUE— Pathe-De Mille.— Boarding 
house life on the wrong side of Manhattan. Heavy 
melodrama and vividly played by Phyllis Haver, 
Victor Varconi and Joseph Schildkraut. (July.) 

*TERROR, THE— Warners.— Mystery stuij, well 
presented in an all-talkie. (Ocl.) 

THREE RING MARRIAGE— First National,— 
Heart interest and comedy in an original story of 
circus life. (September.) 

THROUGH THE BREAKERS— Gotham.— 

South Sea Island story — and a really good one. (Dec.) 

THUNDERCLOUD, THE— Anchor.— A good 
scenic, but shy on drama. (Oct.) 

TIDE OF EMPIRE— Metro-Goldwyn-Mayer.- 
Standard pattern story of Gold Rush but acted and 
directed with a verve that puts it over. (Dec.) 

TIMES SQUARE— Gotham.— Arthur Lubin im- 
itates Al Jolson and so invites the inevitable odious 
comparisons. (November.) 

TOP SERGEANT MULLIGAN— Anchor.— Fair 

enough war burlesque but enough's enough. (Sept.) 

TRAIL OF COURAGE, THE — FBO,— Cactus 

epic and simply terrible. (September.) 

UNCLE TOM'S CABIN— Universal.— Originally 
reviewed in January. Sound effects have increased 
its box-office value. (Oct.) ' 

UNDRESSED— Sterling.— Teaching us not to be 
mean to our children and also not to pose for strange 
artists. An odd plate of hash. (September.) 

UNITED STATES SMITH — Gotham. — Eddie 
Gribbon and Mickey Bennett in a roughneck but 
funny comedy. (August.) 

VANISHING PIONEER, THE— Paramount.— 
The return of Jack Holt to the Paramount ranch. 
And the result is a Grade A Western. (August.) 

VARSITY — Paramount. — The more sentimental 
side of life at Princeton. Charles Rogers and Mary 
Brian will make it popular with the young folks. (Oc/.) 

VIRGIN LIPS— Columbia.— Respectable, in spite 
of ttie title and some dangerous costumes worn by 
Olive Borden. (November.) 

WALKING BACK— Pathe-De Mille.— Trivial 
story of the younger generation made interesting by 
the presence of the charming Sue Carol. (July.) 



WARMING UP— Paramount.— Richard Dix In an 
original and really funny story of a bushleague 
pitcher. Family diversion. (July.) 

*WATERFRONT— First National.— Jack Mul- 
hall proves that he can be attractive even with a dirty 
face. And he is again aided by Dorothy Mackaill. 
A comedy with originality. (November.) 

WATER HOLE, THE— Paramount.— De Luxe 
Zane Gray Western that marks the return of Jack 
Holt. (November.) 

WEDDING MARCH, THE— Paramount —Von 
Stroheim's romance of old Vienna, messed up with 
some repellant scenes and characters. Some good 
moments, but, as a whole, a waste of time, money and 
talent. (November.) 

WEST OF ZANZIBAR— Metro-Goldwyn-Mayer. 
— Lon Chaney goes cripple again. So does the plot. 
(November.) 

*WHEEL OF CHANCE— First National.— Rich- 
ard Barthelmess does some good acting in a dual rdle. 
You forget the improbabilities of the story in your 
interest in the star's acting and the dramatic situa- 
tions. (August.) 

WHEN THE LAW RIDES— FBO.— Something 

better than the conventional Western plot. With 
Tom Tyler and Frankie Darrow. (August.) 

WHILE THE CITY SLEEPS— Metro-Goldwyn- 
Mayer. — Lon Chaney au naturel. Swell crook story. 
(September.) 

WHIP, THE— First National.— Dorothy Mackaill 
in an English sporting melodrama that just misses 
being thrilling. (September.) 

WHITE SHADOWS OF THE SOUTH SEAS— 

Metro-Goldwyn-Mayer. — Just misses being a re- 
markable picture. Its weakness of story is atoned for 
by some of the most beautiful tropical pictures ever 
filmed, (August.) 

WIFE'S RELATIONS, THE— Columbia.— Naive 
romance of an heiress who finds a job and a husband 
in a department store. (August.) 

WILD WEST ROMANCE— Fox.— Some thrills in 
this Western but Rex Bell, the newcomer, will never 
fill the Stetson of Tom Mix. (August.) 

WIN THAT GIRL— Fox.— With Sue Carol and 
Dave Rollins. Otherwise nothing to recommend it. 
(November.) 

*WOMAN DISPUTED, THE— United Artists.— 
Norma Talmadge and Gilbert Roland are excellent in 
a stirring drama of Central Europe during the war. 
(September.) * 

WOMAN FROM MOSCOW, THE— Paramount. 
— Pola Negri's swan song for Paramount. (Oct.) 

WOMAN'S WAY, A— Columbia.— This time the 
diamond necklace is lost in the Latin Quarter of Paris. 
(August.) 

WOMEN THEY TALK ABOUT— Warners.— 

Charming Vitaphone comedy. (Oct.) 

WOMEN WHO DARED— Excellent.— Slumming 
party to the lower East Side, as the movies picture 
it. (August.) 

WRIGHT IDEA, THE— First National.— But 
gone wrong. (Oct.) 

YELLOW CONTRABAND — Pathe.— Dope 
smuggling and other cute modern occupations. (Dec.) 

YELLOW LILY, THE— First National.— Con- 
cerning the bad habit of archdukes of falling in love 
with ladies who live on the other side of the tracks. 
Billie Dove and Clive Brook are the principal reasons 
why you'll want to see the picture. (July.) 

YOUNG WHIRLWIND, THE— FBO.— Kid en- 
tertainment, with Buzz Barton. (Dec.) 




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Photoplay Magazine — Advertising Section 



Diet — The Menace of Hollywood 



I CONTINUED FROM PAGE 33 1 



contract with the Hal Roach Studios. Pretty, 
talented — but overweight! 

The order came. 

She must lose. Those pounds HAD to come 
off! 

She went on a diet, so strenuous that she 
collapsed and was rushed to a sanatorium. 
Today you do not see her on the screen. Holly- 
wood has forgotten her. 

She has dropped out completely from the 
film world. 

There are dozens of stories of this kind to be 
recounted. There is hardly a star in the busi- 
ness who has not, at one time or another, been 
sentenced to diet. Their own ideas on the sub- 
ject are almost identical. In the first place 
they must do it and they, themselves, do not 
realize what effect it will have upon their 
health. They are not convinced enough of the 
danger from diet to make an effort to change 
things. 

There is but one beam of hope. "The girls 
could stop all this nonsense if they would," said 
Dr. Willis, " but they don't know they're being 
harmed by it. They could band together and 
refuse to take off this ridiculous amount of 
weight. They seem to get the sort of clothes 
they want at the studios. They make a big 
enough howl about dressing rooms and lighting 
and publicity. Why don't they start a cam- 
paign about their figures? Because of this 



stupid, atrocious style they are affecting the 
health of women the world over." 

Will there be a new woman? Will these slim 
princesses disappear from the silver sheet? 
Anita Page has gone right on playing leading 
roles and Anita is one of the few girls who is 
average weight. She is five feet two and 
she weighs 118 pounds. That is just one pound 
below the correct weight. Her fan mail in- 
creases. There have, as yet, been no criticisms 
in the papers about her figure. She is a novice 
to the screen and she may be the herald of a 
new era in filmdom. 

Recently it was reported that eighty per cent 
of the women who took out marriage licenses in 
a given month were plump, so maybe the pro- 
ducers are wrong and maybe men do like 'em a 
trifle hefty after all. 

At any rate, one thing is certain. The stars 
cannot keep up when they are underfed. 
Tragic, isn't it, that they should work so hard 
for luxury and, when it comes, be too starved 
to enjoy it? 

But this battle of fame versus health is 
bound to bring the dawning of a new screen 
era. The pendulum, no doubt, will swing to 
the other extreme. And you'U be drinking 
milk and eating large quantities of mashed 
potatoes yet to be in style. In the meantime, 
however, don't copy the stars' figures nor their 
diets if you want to be well and happy. 



Conrad in Quest of a Voice 



I CONTINUED FROM PAGE 58 1 



before the lens in a few seconds. And even 
at that, if it sags, it can be saved by cutting. 
In making sound pictures, however, a scene 
cannot be cut. The conversation must carry 
through, the tempo must be sustained. Thus, 
the experienced stage actor has a distinct 
advantage, for he is in the habit of holding 
his audience for as long a period as twenty- 
five minutes, the length of an entire act. 

"Due to this lack of stage experience, there 
has been an incHnation on the part of screen 
players to talk their lines. By that I mean 
they forget to act their parts, they forget to 
be natural and at ease; they step out of 
character to speak. But experience is rapidly 
changing this, and players are learning that 
all they need to do is be absolutely natural 
before the microphone — as natural as though 
they were talking on the telephone." 

In the first pictures employing conversation, 
Nagel admits that he and all others made the 
same sad mistake of speaking vrtth exaggerated 
emphasis, each word enunciated distinctly and 
by itself. 

"That of course was artificial. It registered 
just that way on the recording device. It 
destroyed all semblance of personality, of 
individuality. 

"With the perfection of reproducing methods, 
however, with the development of a 'vocal 
technique,' the voice is bound to take on a 
new significance, to become a dominant factor. 

"TN fact, I feel sure that the time will come 
-'-when players will be known by their voices. 
There will be 'voice fans.' People will go to 
see certain players because they like to hear 
them speak. 'There will even be sex appeal 
in the voice." 

Conrad Nagel was the first male star ever to 
appear in a full-length talking picture. Al 
Jolson, of course, launched the speakies by his 
bit of conversation in "The Jazz Singer." 
But Jolson was not a motion picture actor. 
And, too, Nagel appeared in "Glorious Betsy" 



before Jolson brought forth his "Singing 
Fool." To that extent, then, Nagel has con- 
tributed to this new chapter of cinema prog- 
ress. And when talkie history is written, he 
will be listed among the pioneers. 

If there was ever any skepticism regarding 
Nagel's magnetism and latent power, that 
doubt died — or will die — under pressure of his 
voice personality. 

"T BELIEVE," he predicted, "that talking 
-•■ pictures will do much to make correct Eng- 
lish popular. Recently I listened to the accept- 
ance speeches of both our presidential can- 
didates and was surprised at the number of 
words each mispronounced. Yet both are well 
educated men — especially Herbert Hoover, a 
college graduate, trained in the science of 
engineering. The fact that they did not 
speak correctly is nothing for which to criticize 
them, however. In fact, correct speech is so 
novel that probably they would have been 
criticized for using it. They would have been 
looked upon as above the common people, as 
ript being down to earth. And that, naturally, 
would have cost votes. 

"As a rule, people are afraid to speak good 
English. They are afraid of being 'razzed,' 
of being called high-hat. It's the same com- 
plex that keeps men from being well-dressed, 
from appearing at their best instead of their 
half-best. If a man ever should be correctly 
garbed, it is when he goes to a Ijanquet. Yet 
how many wear c\'ening Clothes willingly or 
well? They are afraid of looking ridiculous, of 
what the other fellow will say. Vanity defeats 
them. They hide from perfection in imper- 
fection. And so it is with the proper usage of 
speech. 

"But the screen will change all that. Of 
course, there will be both good and bad 
EngUsh in pictures, depending upon the char- 
acter one assumes. Incorrect speech, however, 
wUl be a part of characterization; correct 
speech wUl be the ideal. And where the screen 




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has created a world-wide desire to impress 
by appearance, it will now produce an earnest 
wish to become effective through the medium 
of words." 

With this end in view, Conrad Nagel has 
approached school authorities in Los Angeles 
to suggest special departments and courses for 
voice training and also for specialization in 
language. 

"My thought," he said, "is to originate 
this branch of education in the city where 
pictures are made, and to let it spread from 
the cinema center to the rest of the world. 

"Since the world began, there has been pride 
in speech. Oratory, in fact, is one of the oldest 
arts. Demosthenes stood by the sea with his 
mouth filled with pebbles and struggled to 
enunciate his words distinctly in order that his 
pronunciation might be the clearer with the 
impediment removed. It was the study of 
oratory which in the very beginning developed 
\'oice personality." 

"pROM now on, there is bound to be special 
■*- effort to concentrate on this new angle. Al- 
ready it looms among screen aspirants as the 
coming craze. 

Like bobbed hair and Oxford bags, it will 
be the great affliction. 

"But this wild rush to voice teachers and 
elocutionists," says Nagel, "wiU not accom- 
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think that if all the elocution teachers were 
rounded up and dropped overboard, it would 
be a good riddance. 

"Elocution teachers concentrate on artifici- 
ality. They take naturalness entirely out of 
the voice. And how unnecessary, for what a 
simple thing it is to speak correctly and, at 
the same time, naturally. 

"Have you heard Rabbi Wise or George Ber- 
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not the slightest suggestion of artificiality in 
the voice of either. 

"I took voice training during my college 
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lips that I practiced diligently, all for the 
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pearance? Yet when the man rumbles that 
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board oi every listener. Without that marvel- 
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but perfected through years of training in the 
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would be anything but the great force he now 
represents before the bar. 

"To my mind, he is one of the most out- 
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personaHty." 

It was Conrad Nagel's voice that brought 
him conspicuously to the front in public 
activities of the Film Capital. Resonance and 
volume give an impression of personality en- 
tirely at variance with his screen self. We get 
no adequate impression of the Nagel physique 
in pictures, for through some unknown trickery 
of the lens he is disclosed — as he himself 
admits — not as a man of unusual stature but 
much smaller than he really is. 

■pEOPLE are often surprised when they learn 
^ that Nagel is more than six feet tall, that he 
weighs nearly one hundred and seventy 
pounds, that he has an athlete's body, every 
muscle a sinew of steel. Taking hold of his 
arm is like grabbing up a chunk of cement 
sidewalk. 

On his feet, addressing an audience, this man 
Nagel is a bundle of dynamite. The intensity 
of his voice completely dominates his auditors. 
Not only is he eloquent, he gives to his words 
a conviction that carries unquestioned sincer- 
ity. 

And as far as he can be heard, his words 
are distinct, understandable. 

It will be interesting to watch the Nagel 
career, as well as the Nagel predictions. He, 
with a few others, is a cinema Columbus of the 
moment, striking out into a new world. 




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I I 



The Studio Murder 
Mystery 

[ CONTINUED FROM PAGE 90 ] 



nigan related his story faithfully as follows: 
"Well, I come on duty as usual at sivin. I 
made me rounds, and near froze to death 
with the dirty fog creepin' down me back. 
Nothin' happened up to me 9:,?0 round, whin 
I heard Seibert carryin' on as usual on Stage 
Six. Thin later Wiss Beaumont comes on, so 
MacDougal tells me, and Billy West. About 
that time things begin to happen. ..." 

WHAT things?" 
"Well, sor, nothin' you can put yer 
finger on, and MacDougal he tells me I'm a 
domned liar. Not in so many words, you 
understand, but that's his manin' all right! 
Anyways, whin I starts on me 11:30 round I 
sees a woman's figger runnin' down the women's 
dressin' rooms in direction of Hardell's room. 
... I see it sneakin' down the steps, sor! 
Thin, later, I see a dark figger stealin' out of 
the bushes on the West side of Stage Six, and 
makin' for the stage door . . ." 

"That was about . . . midnight?" 

"Just at, sor. I was just fetchin' up at 
Stage Six, which same would be near tweh'e 
o'clock. Whin I gets up to the stage, the figger 
has disappeared. I thinks to meself it's inside, 
and makes to go on the stage. Then Seibert 
bellows out fer me to stay off . . . ." 

"Does he often do that?" 

"Sure, it's second nature to him, sor! Bad 
cess to him!" with another quick glance of 
defiance at Rosenthal. The president said 
quickly, 

"You're right, Lannigan. Mr. Seibert has 
too much temperament. . . ." 

"Timper, plain and simple, I'd call it, sor! 
Well, thin I goes back to the gate, and talks a 
bit. Pretty soon Seibert and Hardell come out 
in Seibert's car. Seibert, contrary to his 
custom, speaks to us! He says, 'Goodnight, 
men!' and Hardell, who's always been in the 
habit of exchangin' a word whin he comes and 
goes, sings out, 'It's a great life if you don't 
weaken!' I'm tellin' this, sor, because whilst 
I nivver had much use fer a dirty bum like 
Hardell, he knows how to treat a man decent 
whin he meets him!" 

"'Y"OU could swear that Seibert and Hardell 

•*• went out of this studio . . . together . . . 
at that time, Lannigan?" said Smith with sud- 
den sharpness. 

"And why couldn't I swear it? Ain't it the 
truth?" bridled the little Irishman. 

"And what time did they go?" 

"Just before I wint over to have me lunch, 
as I said ... it was 12:17 by me clock, sor, 
and that was the time MacDougal marked 
thim out." 

"All right. Now, did you see any more dark 
figures?" 

" Right after I hears the banshee, I sees wan 
skeedaddlin' across the lawn from Stage 
Six. . . ." 

"Lannigan, you're night watchman of this 
studio, aren't you?" 

"I'amthot!" 

"Then wouldn't it have been your duty to 
investigate these queer happenings?" 

"Sure, and didn't I want to do that very 
thing, sor? Didn't I tell Mac me suspicions? 
And what does he say to me? He says I niv\er 
seen that first figger at all . . . that the only 
woman on the lot is Miss Beaumont, and I can 
see by her light she's up in her room, and the 
other wan he says is Billy West makin' a sneak 
fer the stage as soon as he can to get his script ! 
And the third, which same I sees after I hears 
the banshee, Mac won't hear to at all! He 
tells me it's me ignorant Irish superstition, and 
if I thinks I hears a banshee, which same I 
couldn't have heard at all, there not bein' any 




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A brown study. King Vidor screen-testing some of the colored 
principals for "Hallelujah," his forthcoming Metro-Goldwyn- 
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such cratures, wiiy thin of course I couldn't 
have seen any other dark figger . . ." and 
Lannigan spat disgustedly on his hands and 
rubbed them. 

"And so he wouldn't encourage you to 
make a search of the lot?" 

"Encourage me? Not him. I was goin' to 
ask him to come along . . . but I sees he 
thinks I'm a domn fool. . . ." 

"But you heard that banshee . . . don't 
forget that!" said Smith insistently. 

"T AIN'T likely to forget it, nor would ye be 
-l-yerself , sor ! " snapped Lannigan impatiently. 
Smith smiled, 

"That's right. Now Lannigan, who do you 
really think that last dark figure was?" 

"Judgin' by what's been goin' on this lot 
fer some time past, I'd say it was MacDougal's 
daughter, which same inference is what made 
Mac so mad the first time I told him . . ." 

"The first time?" 

"Well, you see, sor, not knowin' there was 
any lady on the lot whin I sees that first dark 
figger goin' in the direction of Hardell's room, 
I thinks to meself it must be Mac's daughter. 
Which same I would not have mentioned to 
him only he made me mad whin he pokes fun 
at me fer me Irish superstitions . . ." 

"Did you tell him you thought it was his 
daughter?" 

"Not in so many words, sor . . . but he 
knew what I meant." 

"Km ... I understand his daughter has 
been mixed up with Hardell. Perhaps you 
know about that?" 

"I could tell you things would open yer eyes, 
sor . . . which same I finds out whin I makes 
me round of the stages at night !" 

A groan came from Rosenthal. He banged 
his fist down on his desk. Not with a crash, 
but softly . . . hopelessly. 

"Onmylot! On my stages ! The dirty low- 
lifer!" he muttered. He was overcome with an 
overwhelming sense of his impotency. He had 
made the unwritten law . . . and how they 
had broken it . . . broken it to the end that 
murder had been committed. The realization 
that he had not, after all, controlled the be- 
havior of the people who worked/ for him in 
such things, sobered him and saddened him. 



"So it made MacDougal mad, did it? Then 
I take it, he doesn't like this affair between 
his daughter and Hardell. ..." 

"Like it? He turns cold as an icicle, and 
mutters he'll kill the man if he catches 'em. ..." 

"You've heard him say that?" 

"Didn't I just say I had? I ain't the only 
wan. Others have heard him, too. The day 
watchman, fer wan." 

"And what time did you suggest to him 
that you might have seen his daughter? Was 
it before, or after, you went across for your 
lunch?" 

"Before. Shortly after midnight, it was, 
sor." 

"That's all for the present, Lannigan, thank 
you," said Smith then. 

"If it's not askin' too much, sor, will you tell 
me what happened last night?" burst from the 
little man. 

"D wight Hardell was murdered on Stage 
Six." 

"Holy Mither o' God!" breathed Lannigan, 
and crossed himself piously. 

"Lannigan, could MacDougal igo to Stage 
Si.\ while you were out on your round, and you 
not see that he was missing from the gate?" 

"Sure, and he could ..." started the 
Irishman, and checked himself. "You're nivver 
thinkin' old Mac did the deed, mister?" 

"It appears he had a desire to see Hardell 
dead . . ." 

" Saints presairve us. . . ." 

"T VISH to know vat made you tink Lanni- 
-L gan heard a scream ... a banshee ..." 
inquired Rosenthal. 

"Two and two make four," smiled Smith. 
"The woman who fledjhe set was so frightened 
she left her finger marks in blood on the can\'as 
door. 

"More Ukely than not, she screamed!" 

"But . . ." and Rosenthal leaned forward 
quickly, and Smith was surprised at the evi- 
dence of real probing into the matter in his 
statement. 

"But . . . you say she screamed and left 
blood marks at the same time . . . veil, Mr. 
Smith, maybe she pricks her own finger! . . . 
Mr. Seibert tells us he and Hardell are not on 
the lot at the time Lannigan tells us he heard 



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Photoplay Magazine — Advertising Section 



17 



the banshee . . . who you tell me vas the 
voman who dipped her hand in Hardell's life 
blood! If ve are to beheve Seibert, and 
MacDougal and Lannigan, Hardell vas in 
Hollywood at the time you make out he vas 
on my lot . . . murdered!" 

"Bravo!" applauded the detective. "Keep 
this up and we'll want you on our force!" 
Then, soberly, "You've hit the monkey 
wrench in the machinery, all right! There's 
a hitch somewhere. Maybe Lannigan's clock 
was an hour out of the way. We'll have to 
check up. Anyway, there's something rotten 
in Denmark about it! Well, we'll talk to 
MacDougal . . . that daughter of his now." 

"That is foolishness! I know that little 
girl. She is vid my cousin ofer at Killing 
Komedies! She is vild, yes, but she is not a 
murderess! Neffer vill I belief that!" 

"MacDougal, then?" 

Rosenthal shrugged. 

"Of course I should not vant to think that 
of him, either, but . . . he is a qveer fellow . . . 
qviet, and . . . veil, you see him yourself!" 

CHAPTER IX 

WHILE Clancy is getting MacDougal 
over, I'U step in to your restaurant and 
have a bite," said Smith, unfolding his long 
length from Abraham Rosenthal's all too com- 
fortable chair. The president of Superior 
Films drew a sucking breath of regret. 

"Tsk! So! You haff not yet had your 
lunch! Ve vill go right avay . . ." 

"I want to go alone." The detective could 
be abruptly truthful at times. 

"I want time to miU over this testimony . . . 
and I want to study your people. .Also . . . 
I have taken a lot of your time today," he 
amended. 

Even the news of the murder could not 
quite quell that irrepressible spirit of . . . 
Smith stopped a moment in his tracks to 
analyze it. What was it? On every hand he 
caught the tag-end of a bantering remark . . . 
the last chuckle of a burst of laughter! These 
people about him seemed to be playing . . . 
always playing . . . even that morning, 
when the director, Bonet, was roaring orders 
through his megaphone, and there was the 
apparent nerve-tension of catching a mob at 
the psychological moment ... of gathering 
and holding the many ends that went to make 
up the successful photographing of the scene 
by three variously angled cameras, trained on a 
constantly shifting group of humanity . . . 
taking in with each turn the action of indi- 
viduals and stars alike (Smith thought of 
certain "snapshots" he had taken, and how 
everything always seemed to get in the way 
and to worry him) even in that period, when 
certainly those picture folk were working, 
and working hard ... he had felt the under- 
current of, as Rosenthal had said, "kidding." 
Earher in the afternoon, wandering about the 
lot by himself, after his study of Stage Six, and 
its grim figure, he had peeked into a set where 
an old man sat thumbing over some faded 
yellow letters, and weeping weakly all over his 
long beard. 

T TP until the instant the camera started, 
^— '-this old man was jazzing his body in his 
chair . . . snapping his thumbs, anci enter- 
taining the rest of the company with a running 
fire of ludicrous comment ! 

Then, the "snapping" into the scene . . . 
the tears, welling up as easily as though from 
a faucet turned on . . . the "Cut" shouted 
by the director, and the old man jumping up 
with alacrity, 

"Me for a coke, fellows! Never too old to 
drink. Gimme a bottle." Then slapping his 
own wrist as he spilled a drop on the long false 
beard. 

"Naughty! Naughty! Papa spank!" 

It wasn't what they said, so much as the 
way they said it. The laughter . . . bubbling 
all the time underneath . . . the happy-go- 
lucky, comradely joy of life, effervescing be- 
neath the surface! The doing seriously of 



serious scenes, but the never taking seriously, 
of themselves! Smith felt the charm of it. 
He had a moment's wistful hunger to be one of 
them ... to love life, and live it to the full, 
as these people loved it, and hved it! 

Like the little girl from Kansas he thought 
longingly of the beauty that money could buy, 
and how these people were surrounded with it 
on every side. Even the most ordinary and 
lowly object of furnishing, was made a work 
of art! He wanted to climb on the band 
wagon and join the gay throng ... to go 
lau.ghing and shouting merrily down the road 
of life! He thought of these people as holding 
their lips to a brimming cup ... a cup in 
which all the desires that life brought to one, 
were jammed and packed! 

nPHEN he went into the commissary, and met 
■'- his first contact with the caste system of the 
studios. Rosenthal had told him to take a 
table at the end of the room farthest from the 
door. He had wondered why. Now he caught 
it all in a glance. Near the door were e.xtras, 
eating belated luncheons like his own ... or 
having tea, or drinks. Then came people who 
seemed to him to have more importance. Up 
near where Rosenthal had told him to sit he 
recognized two famous motion picture stars. 
He laughed to himself as he sat down. There 
were no marked divisions of the room, but 
the divisions were there! He felt that it would 
surely follow out that way throughout the 
industry. The extras to the extras, and the 
stars to the stars. He realized what a hard 
won fight it must be to reach the brimming 
cup! As he was finishing his coffee, a waitress 
came to him. 

"You are Mr. Smith? Mr. Rosenthal said 
you would be at his table. You are wanted on 
the phone." 

" That you, chief? I've got the guy." 
"Has he learned what has happened?" 
"Nope. He was reading his paper in his 
kitchen, but you know there wasn't nothin' 
init." 

"Well, don't tell him. I'm coming right 
over." 

T^HE difference in Clancy's attitude towards 
■^ this man, compared to that he used towards 
Lannigan, was in itself sufficient evidence of 
the difference in the two witnesses. As tall as 
Smith and with an upright, mihtary bearing 
not so different from Seibert's. Level, blue 
eyes, staring out calmly, almost bleakly, from 
under beetling, bushy sandy eyebrows. A 
massive face, without rounded contours. High 
cheek bones, a long straight nose, above full 
but firmly moulded lips, the whole dominated 
by a strong, square jaw. 

A sandy mustache cUpped squarely, and 
adding to the grim look of efficiency which gave 
out from him. 

"A hard man . . . and a set one," said 
Smith to himself. Then he rose and held out 
his hand. 

" Royal Northwest Mounted Police, I under- 
stand, MacDougal?" 

"Eight years, sir." Then to Rosenthal, 
"You wished to see me?" 

"Captain Smith vishes to ask you some 
qvestions," answered the president of Superior 
Films, waving him to a chair with his fat hand, 
in which one of his choice cigars smoked 
fragrantly. Ignoring Rosenthal's frown and 
out thrust lower lip, Smith tendered the gate- 
man a cigar from the open box on the desk, 
and started to light a match for it. But 
MacDougal put out his hand in refusal. 

"Thank you. I smoke a pipe," he said 
courteously. 

Smith sensed the pride in the tone. The 
man would not accept one of the president's 
cigars, offered by another than himself! It 
was one of those straws which show the way 
the wind blows. Smith knew the unbending 
nature of this man's make-up on the instant. 

"ilacDougal," he said without preamble, 
" there was a murder committed on this lot last 
night!" He said it with his eyes narrowed, 
and every intuitive help he possessed trained 




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on the gateman. He saw a sudden tightening 
of the other man's attitude. Then, 

"Who was it?" MacDougal asked quietly. 

"Harden." 

"Harden? He left the lot with Seibert, and 
he did not come back!" 

" That's what I wanted to know. He didn't 
come back you say, and yet ... he was 
found murdered this morning on Stage Six!" 
and Smith looked searchingly at the other. 
" So you see, he must have come back!" 

''"NTOT through the gate, Captain!" asserted 

*- ^ MacDougal quickly. 

" Could he have gotten in any other way?" 

"I do not see how he could!" 

Smith pondered this, and then evidently 
thought better not to probe farther. Instead 
he said, 

"Are you in the habit of going across with 
Lannigan to eat lunch?" 

"Not in the habit of it, sir, but I did step 
across last night. It was a mean night. Cold 
and foggy." 

"Hm . . . much fog?" 

' ' Thick as pea soup. " 

"^^'hen you went across . . . did you lock 
the gate?" 

"If I do go over, I usually lock the gate. 
Last night, however, we had people on the lot, 
which is not customary so late. Thinking they 
might be wanting to leave, I left the little door 
open." 

" What people were on the lot?" 

"Miss Beaumont and Mr. West." 

"No one else. No other . . . woman?" 

]MacDougal met his eyes squarely, 

"The nurse in the hospital. That's all," he 
said. 

"'Y'OUR time sheet shows that Aliss Beau- 

■'■ mont did not leave until 1:30 A. M., and 
that Billy West left ten minutes later," said 
Smith glancing at the record which had been 
sent over from the Production Office earlier in 
the day. 

" That is right. Captain." 

"Then, MacDougal, you did not see them 
leave while you were in the lunch room?" 

"No, sir." 

"Were you sitting with your back to the 
street, depending on your sixth sense to make 
you turn when anyone approached the gate?" 

"Hardly, sir! The counter runs, also, along , 
the side. By sitting on the end seat, I can 
easily keep my face turned towards the 
boulevard. I did not take my eyes off the gate 
for the short time Lannigan and I were there." 

"But no one left the lot, during that time?" 

"No, sir." 

" Then, MacDougal, if you did not see an}'one 
leave, how can you be sure someone did not 
enter? In short, you do not know, for certain, 
whether you could see a person going through 
the gate, from that distance, in that fog . . . 
do you?" 

"Putting it that way, I do not, sir," ad- 
mitted the man without hedging. 

"Putting it that way, MacDougal, we have 
only the word of Seibert that he drove Hardell 
to Hollywood ... as yet. What was to pre- 
vent his dropping Hardell a short distance 
from the studio, and Hardell coming back . . . 
to . . . meet your daughter!" said the detective 
significantly. For an instant the Scotchman's 
face took on a hard look. He opened and shut 
his well-knit, strong hands, on his knee. When 
he spoke, how-ever, his voice was quiet . . . 
direct. 

"You've no right, Captain, to bring my 
daughter into this! I will grant you this much. 
Seibert could ha\'e dropped Hardell a short 
distance, and Hardell might have slipped 
through the gate when I was across the street. 
Why he came back I cannot say!" 

The detective sat for a moment holding the 
other's eyes with his own. Failing to force 
the Scotchman to evade his gaze, he said 
directly, 

"MacDougal, if you had gone over to Stage 
Six on your return, could Lannigan have seen 
you?" 



"Lannigan went immediately to the stage 
himself, to see about a light. Then he went 
to the storeroom, to get a new globe. I could 
have gone to the stage and entered from this 
end, while he was leaving by the other, or 
walking away from the stage at the other end, 
with his back to me. It would have been easy," 
said MacDougal, unhesitatingly. 

"I thought so. . . . MacDougal, are those 
the shoes you wore last night?" 

"No. I have to be on my feet, as you 
know, and I wear rubber heels when on duty." 

A NOISE came from Rosenthal, and Smith 
■''■shot him a warning glance for silence. 

"MacDougal, a man wearing rubber heeled 
shoes stood at the side of the dead body of 
Hardell, stepped over it, and walked across 
the stage ! He left a trail of bloody footprints ! ' ' 

An inscrutable look came into the ex- 
redcoat's face. 

"That could be a clue ... or a plant ..." 
he said quickly. 

"Correct. Before we assume it to be a 
plant, we will assume it to be a clue. I shall 
have to see the shoes you wore last night, 
MacDougal!" 

"Certainly." 

"Why did you refuse to accompany Lanni- 
gan on a search of the lot to investigate the 
figures he saw?" 

MacDougal smiled with a certain scorn. 

"You do not know Lannigan like I do. 
However, I did not refuse to accompany him. 
He did not ask me. If I humored all his 
hallucinations, I'd spend my time touring the 
lot!" 

"Hm. . . . Y'ou accounted for one of the figures 
as being West. You did not explain the other 
two. MacDougal, I believe that the figure 
Lannigan saw following the scream of 'the 
banshee ' was your daughter!" 

"My daughter was not on the lot!" came the 
retort, cold and crisp. 

"You did not mark herin, no!" . . . agreed 
Smith significantly. 

"Do you think, sir, that I would abet my 
daughter in meeting a man like Hardell? Do 
you think I would admit her to the lot, and try 
to conceal it? I have forbidden her the lot 
after dark!" 

MacDougal 's eyes held dignity and pain. 
Smith sensed the depth of his love for this 
, wayward girl. 

"I think that there are angles of this case 
which, so far, are baffling. . ." returned Smith 
impatiently. 

"T APPRECIATE your position. Captain," 
•*■ said the gatemen quietly. 

"Then you appreciate the fact that, regard- 
less of your feelings, I must get at the bottom 
of this!" snapped Smith. "Where was your 
daughter last night! Do you know?" 

After a moment's hesitation, MacDougal 
said, 

"I do not know." 

"Where was she when you returned home 
this morning?" 

"She sometimes has to be on the lot . . . 
where she works. Killing Komedies . . . early. 
She had gone." 

"Do you know that she had gone to KiDing 
Komedies?" 

"I have no reason to think otherwise." 

"We wiU check that up right now," re- 
turned the detective, looking at Rosenthal. 

"I vill half my secretary find out," said the 
president. 

When Smith again looked at MacDougal 
the man's face had whitened about the mouth. 

"You have Miss Beaumont marked out at 
1:30 A. M. and West ten minutes later. What 
reason can you give for them to be on the lot 
so late?" 

"Miss Beaumont came out to read a new 
script, which she had promised to have fmished 
by today. I expect she was reading it. There 
was a light in her room. I cannot account for 
West remaining so late. He came to get his 
script book which he had left on the set. He 
was forced to wait until Seibert finished, as 



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Seibert sometimes allows no one on the set 
. . . not even his assistant. Why he re- 
mained after that I cannot tell you." 

"Did you notice anything unusual in the 
manner of either one of them, when leavinR?" 

"Miss Beaumont is very often in a state of 
excitement. That is her nature. She be- 
comes enthusiastic over things and is friendly 
to everyone. She seemed nervous . . . and 
. . . what we might say, 'flighty' . . . late 
last night. Whether it was anything unusual, 
or just the nervous reaction from reading a 
highly dramatic story, so late at night, I 
cannot say. She feels her roles intensely." 

Smith realized that MacDougal was a keen 
observer of human nature, and also an intelli- 
gent one. 
, "How about West?" 

"Nothing unusual, beyond the fact that he 
looked a bit hollow-eyed. That is customary 
after a long grind with Seibert, however!" 

"Are you sure?" 

"The position of assistant director is that of 
a buffer between the production office and the 
director. He is between . . the devil and the 
deep blue sea, or, to be more specific, between 
the efficiency of the production office, which 
balks at recognizing temperament, and the 
artistic abandon of the director, who cannot 
comprehend the position of the production 
office! With a man such as Seibert, the 
assistant's job is a doubly nerve-racking one." 

"Thanks," said Smith. 

He sat a moment, looking down at the little 
red book on his knee. Then he said: 

" > ^AcDOUGAL, you cannot swear that 
■i '••-Miss Beaumont was in her room all the 

time her light was on? You cannot swear that 

Lannigan did not see her running down the 

corridor, and the stairs, towards Hardell's 

room?" 

"No, sir. I cannot swear that." 

"You cannot swear that Billy West was in 

his office, as you suppose, during all the time he 

was on the lot?" 
"No, sir. I cannot swear to that." 
"You cannot swear that Hardell could not 

have re-entered while you were at lunch?" 
" No, sir. I cannot swear to that." 
"Lannigan cannot swear that you did not 

leave your post after returning to the lot, and 

go over to Stage Si.x?" 

" Unless he made it a point of watching me, 

which I am sure he did not, I cannot swear to 

that." 

"Why are you sure he did not?" was the 

quick follow-up from Smith at this. 

"I modify that. I assume that he did not." 
"Where were you when a scream came from 

the direction of Stage Six?" 
" I did not hear such a scream." 
At this point Rosenthal's secretary knocked 

at the door, and was bidden to enter. 



"Beth MacDougal left Killing Komedies 
yesterday afternoon, because she was feeling 
ill, and did not go to work this morning," she 
reported. 

CHAPTER X 

TJILLY WEST swallowed the last scraps of 
■'-'that part of the note he had been able to 
conceal when he wrestled for its possession 
with Clancy. The silhouette of Yvonne 
against the light, laying it on Hardell's dress- 
ing table, had leaped into his mind the minute 
he had come on the lot, and the office boy, 
had . . . but we are getting ahead of our scene. 

Now he smiled wryly to himself, and thought 
that he would never again deride the foolish 
actions of people under stress of emotion, for no 
sooner had he laboriously gotten down the 
last morsel when he realized that so long as the 
police had a fraction of the mauve note paper, 
even minus the signature and monogram, they 
would trace it down! Had anyone told him 
j'esterday he would be doing such a stupid 
thing, he would have snorted contemptuously. 
"You're cock-eyed and crazy!" 

He wondered angrily if he had completely 
lost his wits over this thing. It made him 
more furious at himself because he knew this 
was a time in which every sense he possessed 
must be used to the utmost. 

He looked, even as the president of Superior 
Films had looked, at the autographed photo- 
graphs on his walls. Yesterday they had been 
pictured faces of people he liked, and who liked 
him! Now they seemed to withdraw from 
him, and became a part of another existence 
. . . his past! They became dream people, 
in a dream existence. What was nightmarishly 
real to him was the fact that he was sitting 
locked in his own office, with the broad back 
of a sergeant of pohce patrolHng his window, 
and the suspicion of murder darkening his 
future. Yet not a twinge of regret for the man 
lying in his blood out on Stage Six agitated 
him. In fact, he did not think of him at all. 

"LJIS thoughts were milling in a desperate 
-'- -"-circle about himself and Yvonne. Yvonne, 
her grey eyes, swept by heavy lashes, looking 
at him pleadingly. Her quick, pretty little 
movements re-visioning themselves in his 
brain. Her small pale hands, thrown out in a 
gesture of appeal . . . and . . . her dainty 
body stiffening furiously as she stood with the 
telephone in her hand, talking to Hardell in her 
apartment the night before! What had hap- 
pened after that? He remembered the night as 
a long dwelling in Gethsemane. He had been 
betrayed. His love of Yvonne had been 
betrayed ... by Hardell. He knew he had 
been in a condition when any extreme act 
might have been possible. He knew he had 
even thought murder, in his heart. . . . 




It can't be so darned much fun, after all. Here are Ralph Graves, 
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Coming as something comforting was the 
thought of the office boy, who had found 
Hardell. Because he must keep his mind busy 
or go crazy, he went over the little scene as it 
had happened that morning. 

The office boy's name was Jimmy, as is the 
name of many an office boy. He hated Seibert 
and he worshipped Billy West. 

Billy was a war ace and had killed the 
enemy from the air. He was a being set apart, 
even in a world knowing the common after- 
math of war. 

When the assistant director came on the 
Superior Films lot the morning Hardell was 
discovered murdered, he had seen Jimmy 
hunched strangely in a chair behind the rail 
which divided the privileged from the un- 
privileged in Rosenthal's outer office. 

"What's matter, old pal?" 

Jimmy looked up, greenly, at the hand on 
his shoulder. 

"Nothin' ..." 

"You look sick. Hospital for you, kid, and 
castor oil!" 

"I'm all right. Honest, Billy!" 

" Honest, Jimmy?" 

HOW could he lie to his hero? He evaded 
the frank brown eyes looking down at him, 
waiting for the truth. He wriggled uncom- 
fortably. 

"Jimmy, have you been smoking again?" 

"No. Honest I haven't," but still the eva- 
sive eyes that could not meet the brown ones. 
Silence. Billy did not beUeve him. Without 
another word he was turning away. Jimmy 
caught at his arm. . . . 

"I . . . it isn't my fault, Billy, honest. . . . 
I do feel sick, but ... I promised not to tell 
anyone. . . " 

"Then don't," briefly, from Billy. There was 
a moment in wliich Jimmy pondered. He'd 
given his word of honor to BUly not to smoke 
until he was eighteen years old. He had not 
given his word of honor to Rosenthal. At the 
worst Rosenthal would only fire him. If Billy 
thought he'd lied to him . . . he'd lose him 
for a friend. He couldn't do that. He gulped, 
and cast a swift look at the door of Rosenthal's 
inner ofiice. He clutched Billy somewhere 
about the middle. 

" Hardell 's murdered on Stage Si.x. I . . . 
kicked him!" he breathed in a rush, partly 
remembered terror at that gruesome figure. 
He felt Billy's body go taut in his encirchng 
arms. BiUy did not speak. He looked up at 
his face. It was white. 

Then, without a word, and with a wild look 
in those frank brown eyes, his hero put him 
firmly from him, and strode out the way he had 
come. 

Frantically Jimmy's vivid young imagina- 
tion, which had lapsed into coma under the 
startling reality of what he had seen, leaped 
into action. With the sophistication of the 
modern youngster he began putting two and 
two together, Billy and Yvonne. Yvonne and 
Hardell. It made four! He recoUed from the 
thought of Billy having so brutally killed a 
man. Then he remembered war. Of course. 
Human lives were nothing to an ace who had 
snuffed out the existence of countless of the 
enemy. 

.■\nd then Jimmy Kstened with a sickened 
heart to a strange sound about him. It was the 
shattering of the cymbals of the Glory of War! 

ROSENTHAL'S desk phone rang. Captain 
of Detectives Smith was treated to a family 
portrait of the head e.xecutive of Superior 
Films. 

"Yes, yes, sure it is me, mama! Vat? 
Didn't I have Miss Dunham phone you I vas 
busy, mama? Veil, I am busy! Now, mama, 
vat a thing to say! I am all alone, except 
for . . . " and Rosenthal rolled his liquid 
brown eyes over to Smith, and hesitated. His 
statement was an unfortunate one. 

There was quite a lengthy return from the 
other end of the wire, under which the gen- 
erous body of the head executive wriggled 
apologetically for Smith's benefit. \\'ith one 



fat hand waving in the air, he put his lips 
close to the phone. 

"Now, Izzie, you be a good boy and go to 
bed. Papa is not coming home yet avile. 
Izzie, I tell you papa is busy! Vill you please 
to behaff yourself? AH right ... all right 
... I vill get it tomorrow. Now go to bed 
right avay, and don't bother your mama!" 

When he had hung up the phone he turned 
to Smith, and threw out his hands in a helpless 
gesture. 

"Everything that boy vants! He thinks his 
papa is made of money!" A complaint with 
pride in it! 

" , . . aren't you? ..." drawled Smith, 
with a smile. 

"I am made of vorry right now," returned 
Rosenthal lugubriously, adding, "Veil, if \^ 
are to haff our dinner and get through vid this 
mess tonight, ve had better go offer to the 
commissary right avay." 

"You succeeded in locating Miss Beau- 
mont?" 

"Yes. Her maid tells my secretary she has 
gone to Newport Beach. Right avay I send 
a message to her friend's yacht, and she says 
she vill be here at 8:30. Veil, it is now 8 
o'clock. Ve got to hurry." 

"Hm. ... I want to question West first. 
Can we have a sandmch and a bottle of some- 
thing to drink sent over?" 

"Sure . . . Iget it right avay." 

Smith thought it must be the first time 
Rosenthal's shining mahogany desk had been 
utilized as a lunch counter, and then was a 
httle surprised to see the door open and a table 
brought in. 

The sandwich and bottle of something to 
drink materiaUzed into fried chicken . . . and 
a bottle of something very choice to drink . . . 
salad, dessert and coffee. 

"Vat you think about MacDougal?" asked 
Rosenthal, looking up from a crisp chicken 



"npHAT he is the darnedest liar in the bunch, 

•L so far," returned Smith promptly. 

"Tsk!" exclaimed Rosenthal, his eyes 
widening. 

"Absolutely. He knows something he's not 
telling. The minute I pin that murder on his 
daughter, he's going to throw a monkey wrench 
into the machinery that wiU make it impossible 
for me to get a conviction." 

"Veil, maybe his daughter didn't do it!" 

"Maybe. I tell you, Rosenthal, all my evi- 
dence is up in the air. There are too many 
clues and too many suspects!" 

"MacDougal iss not a murderer," returned 
the other thoughtfully. 

"No. He's only a killer!" exclaimed Smith 
dryly. 

"Vat is the difference?" 

"Just this. I'm not a murderer, but I'm a 
killer if necessity demands. There are men 
who would step around a rattlesnake, and 
others who would stop to kill it. If Mac- 
Dougal kiUed Hardell, he did it in the same 
way he would kill a rattlesnake ... as 
deliberately. He's hard, and he's clever. He 
knows just how he's going to handle this thing, 
and he's got it all planned out. His training 
as a Redcoat gives him the advantage. He 
knows the law!" 

The detective drained his glass with appre- 
ciative eyes looking over its rim. Then he said: 

"If you don't mind, I'll have Clancy bring 
West in now. I want to get him out of the way 
before Miss Beaumont comes." 

"Sure, I am through, myself," returned the 
president courteously. He rang and had the 
table removed. The two men leaned back and 
puffed luxuriously. 

CAPTAIN SMITH saw a good looking 
young man, in whose brown eyes lay a 
baffled look. He was cornered, and he knew 
it, and whUe his face showed a certain despera- 
tion ... a hunted e-xpression ... it also 
showed a hesitancy at making a break for free- 
dom. "There's something more in this 
than he's going to teU me," Smith told himself, 



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and immediately took on an entirely different 
attitude than the ones in which he had ques- 
tioned Lannigan and MacDougal. Rosenthal 
felt a mounting resentment and surprise, in 
which he regretted his quick intimacy with 
the man. It was all he could do to keep from 
throtving him out of his office, when Smith 
shut him up tersely because of a protest at the 
detective's ruthless methods with the young 
assistant director. Perhaps, if Rosenthal had 
not been honestly fond of Billy . . . but he 
was . . . 

" And so, you say you only went to the set 
for your script? Would that take you two 
hours?" 

"What I did after getting my script is my 
own affair, sir!" 

"You're wrong, my boy! Perhaps you'll 
feel more like explaining your actions when 
you've spent a night in jail!" 

"You have no evidence upon which to give 
you a right to arrest me!" 

"You are already arrested! Sergeant 
Clancy arrested you! What you mean is, that 
you have given me no evidence upon which to 
release you!" 

" You will have to prove what you say!" 

"I e.xpect to! Where was Miss Beaumont 
after Seibert and Hardell left the lot?" 

Billy West shut his lips. 

"All right, if you won't answer that, perhaps 
you will this. Who was the woman you talked 
to while on the set . . . after Seibert had left?" 

"T DID not talk to any woman!" 

-L "I found a woman's finger marks ... in 
blood ... on the canvas door!" snapped Smith 
significantly. 

Billy started perceptibly, and Smith could 
see he was holding his breath in a manner that 
told the detective his heart had leaped . . . 
startled. 

"When we match up those prints with the 
ones on the note you so obligingly tried to 
secret . . . written by Miss Beaumont . . . we 
will know the identity of the woman who made 
those prints," he stated with finality in his 
voice, as though it were already a settled 
question, and adding, as if by an afterthought, 
"Miss Beaumont was the only woman who 
came on the lot last night, according to the 
gateman's testimony and time sheet!" 

BiUy West steadied himself against a sud- 
den whirling of things around him. His already 
haggard young face grew more so. Smith pur- 
sued his advantage. 

"Miss Beaumont . . . your sweetheart . . . has 
all but confessed to the deed in her letter. Did 
you have time to read it? 

"No. Just saw her name and handwriting 
and thought you'd better get it out of the way, 
eh? Well . . . perhaps, if you had read it, you 
would know . . ." 



"Stop! I'll make a clean breast of it. I did 
it!" 

Smith relaxed back in his chair, a slight smile 
of satisfaction on his face. Rosenthal groaned. 

"Mine Gott, Billy! Vydidyou! Vy did you! 
The dirty low-lifer . . . and you should ruin 
yourself for him!" 

"Don't worry, Mr. Rosenthal ... it doesn't 
matter . . . it's all right ..." and the pale faced 
young man smiled bitterly. 

""DILLEE! Why haveyouthehandcuffson?" 
■'-' Every man in the room turned to look at 
her. She stood leaning against the door, her 
grey, dusky-lashed eyes, wide with terror, her 
sweet red mouth quivering. Rosenthal w-as 
immediately at her side, with one huge, com- 
forting arm about her. 

"Shu! Shu! Yvonne . . ." he was saying, 
patting her soothingly . . . and yet finding no 
words with which to lie to her. She put him 
gently but firmly from her. 

"I'm aU right, Rosey ... I must know the 
truth! Billee! Talk to me! I have heard when 
I come on the lot that D wight is murdered! 
Tell me! You . . . didn't . . ." she stopped, 
and her great eyes, now tear-fiUed, questioned 
him. 

"He says he did, Miss Beaumont," said 
Smith quietly. The girl wheeled on him, her 
tremulous grief all consumed in the instant 
flash of her temper. 

"Says he did! And you ... a detective . . . 
you believe him! You put on the handcuffs 
just for that! Bah! That is .American . . . 
stupeed! In Paris .. ." 

"I am aware that in Paris you have some 
master criminologists," interrupted Smith 
smoothly, "but even in your native city, I 
imagine a confession is given some credence 
until proved untrue!" 

"Ah . . . you agree it must be proved! I ask 
you, what proof have you now . . . that Billee 
did this so terrible thing . . . what proof be- 
side his silly word?" 

"We arrested him because he was found in 
HardeU's room . . . taking a note from his 
dressing table ... a note, written by you!" 

She laughed scornfully. 

"And because of that, you try to make him 
theenk I did it! Then, natural ... he tells you 
he did it himself! Is it not what any man 
would do, Jl'sieur? I ask you? And you 
believe him? Non! He did not! Billee, 
foolish one, tell him the truth!" 

"Yvonne. . . ." He looked up miserably,and 
stopped. What could he say? There was 
nothing to say. He could not tell the truth! 

"Veree well! I tell it myself, then! It was 
I ... I, il'sieur, who came out here last 
night to meet Mistair Hardell! Because he 
have some letters of mine. . . ." 

( CONTI.\UED NEXT MONTH I 



The Stars That Never Were 



[ CONTIXliED FROM PAGE 45 ] 



his way over to the set. .\nA engaged in aim- 
less converse with some of the younger China- 
men who were also extras. The talk, though 
unintelligible to the occidental listener, had to 
do evidently with the star. For fingers were 
pointed in the direction of the star's dressing 
room, and heads were shaken. 

The blonde girl — who played opposite the 
star — was watching, from the sidelines. Al- 
though her part in the picture — even to the 
last soft focus closeups, was quite done. She 
had never before known the Oriental star — she 
had been chosen, solely, for her silvery beauty 
which contrasted so desperately with his dark- 
ness. .And, whether it was the newness of the 
type to her, or the man's very real fascination, 
she was quite evidently captured by his charm. 
And so they had lunched together, often, dur- 
ing the picture's making. And she had ap- 



peared in the star's scarlet roadster, more than 
once. And folk said — But you know what 
rumor is! 

Anyway — the blonde girl was watching. .And, 
as the extras gesticulated and pointed and 
asked and answered questions, she turned to 
the director. 

"A kind of a weird lot, aren't they?" she 
questioned, idly. 

The director answered. His answer was not 
so idle, either. 

"You don't seem — " he said rather nastily — 
"to think so!" 

The girl blushed. Her silvery fairness was 
swallowed up in a tide of cerise. Which is 
rare in your studio — and which shocked the 
director! 

"If you mean Wing — " said the girl, hotly 
(for folk laughed and said that the Oriental 



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Photoplay Magazine — Advertising Section 




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Star was named atter a collar!) "why, you can 
shut up. See? He's different from the rest." 

The director spoke sharply. For he liked 
the blonde girl and her blush, to him, had been 
a danger signal! 

"Yeah — " he answered, "I mean Wing. 
And he's not different from the rest. Not so 
as you can notice it. He's a darn good actor — 
I'll grant you that! And he's got b.o. appeal — 
and he makes money for the old man. But 
he's a best bet for white women to like when 
he's on the screen. Get me? On the screen. 



celebrate for a whole week, don't you? And 
it costs just — " 

The star threw out his slim, olive tinted 
hands. In a gesture of finality. 

"Always, in this profession," he said, "there 
are two spectres. Money — and time. We, of 
the Orient, are leisurely. We can afford to 
lose a week, if we wish, to make holiday. 
But I" — he nodded to the director — "can 
see your point. And I am ready. For there 
may be some re-takes — " 

Only — there were no re-takes! 



Because, off it, he's yellow — as yellow as that 

old geezer over there!" He pointed, with an A S he watched the star step into character — ■ 

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angry megaphone, toward the old Chinaman 
who — blear eyed and brooding — had moved 
away from the other extras. And — 

"He'll look like that, himself, some day — 
Wing will!" added the director. 

BUT the blonde girl did not hear him. For 
the star, in the ragged garments of an alien 
race, had come out of his dressing room. And 
was walking toward her. And — 

"It was — ■" he said — "so kind of you to 
come. This last scene — you will inspire it!" 
And then, so low that the director could only 
sense it, "My dear!" 

The blonde girl was blushing again. She 
didn't speak. But she extended her hand. 
And the star took it in his own. Not took it — 
seized it. And kissed it suddenly and openly, 
palm up, with a curious hunger. A hunger 
that the director turned from suddenly — and 
that the extras watched with blank faces and 
curiously alive eyes. 

All except the old Chinaman who was 
hunched up against a plaster of Paris column — 
and who might have been dozing, so still he 
was! 

The director turned away from what ap- 
peared to be a real love scene, in the making. 
And beckoned to the script girl. And then, 
all at once, he was talking to the light boys, 
the property men. And then — quite as if he 
was anxious to be through with it — he had 
called to the waiting group of Chinamen. 

"Just act natural," he explained to them 
briefly, "act like you were walking down one 
of your own streets. Going about your own 
Ijusiness. Forget that Wing's the star — he's 
just one of you fellows. You're not curious 
about him. ... He walks down the street, 
among you, and goes into that door — " he 
pointed to the gaudily painted joss house. 
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star's shoulders, and the weary slouch that 
grew into his legs — the director was forced to 
admit the man's artistry. Here he had no 
necessity of telling an actor what to do. This 
star was, always, a part of his part. He did 
not act it — he lived it. 

"I really," said the blonde leading lady, as 
she saw him walking toward the built in street, 
"I really feel as if he is going out of my life. 
Actually — not as a part of the script!" 

The director thrust savage hands into his 
pockets. It wasn't that he especially hked 
the blonde leading lady — but she was so 
blonde! 

"I wish that he was," said the director, 
"going out of it!" And then, grudgingly — 
"But the boy does know his celluloid. He 
can — act!" 

Yes, he could act! There was no doubt about 
that. As the star walked down the street there 
was an air of suspense about the whole manner 
of his walking. It even, in some intangible 
way, became a part of the street, itself. It 
even ate its way into the souls of the extras. 
For, though they noticed the star not at all, 
one felt that they were aware of him. As he 
jostled his way through the thickest of the 
throng — as he walked, apparently lost in 
thought, beneath a low hanging awning — the 
director found himself actually believing the 
continuity that was being followed. Some- 
thing that your directors aren't, regrettably, 
able to do. Not very often! As the star 
paused for a second, on a corner, the leading 
lady's slim white fingers pressed close together. 
There was something so utterly lost in the 
droop of his shoulders — something so subtly • 
heart-breaking in the very attitude of his ' 
hanging, empty hands. 

"I feel," she whispered, "as if I'd like to call 
him back!" 
The Chinamen stood about. Almost statue- 
like in their stillness. All !except the! one old HPHE director — coming out of a dream, al- 
man who had seemed asleep. With an odd J- most — snapped his answer. 



agility he had crossed the set. And had 
settled down against the joss house door. In 
a dozing, forgetful-of-self attitude. It was 
toward him that the director gestured. 

"See that," he said, to his best camera man. 
"Absolutely natural. Nothing studied about 
that pose! The old fellow's the keynote of 
age — and futility — and the whole race. Get 
him — a lot of him!" 

The camera man trained his lenses on the 
slumped, careless figure. And the director 
turned toward the star. Trying, quite avidly, 
to be affable. 

"I think," he began, "that we'd better — " 

But the star did not seem to hear. 

"TT'S amazing that so many of them turned 
-'•up," he was saying, "for tomorrow — it will 
be the beginning of our New Year. And, the 
day before the Chinese New Year, your average 
Chinaman is very busy. It is our custom, you 
know, to at this time clean the slate of all old 
business. To pay all debts on this day. We — 
as a nation — begin the New Year, always, 
clean — " 

The silvery blonde head of the leading lady 
was bent. She murmured something unin- 
telligible. 

And again the director spoke. Not quite so 
affably this time. 

"If that's the case," he told his star, "per- 
haps we'd better get on the job. We can't 
hold up production for a week — you folks 



"You talk," he said, "as if you're crazy 
about him. Well, it's not healthy for a girl 
hke you to get crazy about a fellow like him. 
Even if he wasn't Chinese — which is barrier 
enough — there's nobody in Hollywood that 
knows a thing about him. He may have a 
wife and seven yellow kids down in San 
Francisco. He may — " 

But the blonde star was speaking. 

"If I am crazy about him," she said slowly, 
"it's my own business. Any way — lay off 
him now. Watch him, and learn something 
about your own business!" 

For the Oriental star had come to the final 
moment. To the last episode of all. He had 
reached the joss house door — the door of the 
place of worship to which his fathers had come, 
before him! 

You who saw "Other Gods." Didn't you 
sit close to the edge of your chair, during that 
last brief moment? In which the star tried to 
straighten his drooping shoulders — and failed? 
In which he gave one brief look over his 
shoulder, a painfully futile glance into a lost 
yesterday? Didn't you sigh as he stepped past 
the old Chinaman, into the shadows that 
shrouded the joss house doorway? 

The blonde star, watching from just off the 
set — she sighed. And the director's face had 
lost its displeasure of a brief moment ago. 
And— 

"That," he began. And then, all at once, 
he broke his sentence. Sharply. And — 



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"Hey, you," he called, "what th' — " 
For the aged Chinaman, he whom the star 
had passed as he walked through the door- 
way, had come to his feet. He, whom the star 
had never deigned to notice, had whipped a 
knife from his ragged jacket — a knife that 
flashed in the sunlight. And he, too, his age 
lost in an expression of almost ecstatic eager- 
ness, had stepped quietly through the shrouded 
doorway. 

THERE wasn't a sound. That, perhaps, 
was why the leading lady went running 
across the set. Why the e.xtras were suddenly 
scattering. Why the director pushed, first, 
through the doorway. Somehow he wasn't 
surprised at what he saw. 

"Keep the girl out of here," he bellowed 
to the studio, at large. And then he bent over 
the still figure upon the dusty floor of the 
platform which supported the plaster columns 
of the joss house. Bent over, and straightened 
suddenly. To face an old Chinaman who 
stood, knife in hand. A knife that — for a 
grim reason — no longer caught the light. 



But the old Chinaman had ceased to be a 
drab, futile figure. 

There was an odd dignity in his bearing — 
one could, in imagination, clothe his body in 
the silks of a mandarin. Rather than in the 
rags it wore. 

The director didn't speak. He only stared. 

And so, simply and in perfect English, the 
old Chinaman answered an unvoiced question. 

"He told my daughter, just a week ago, 
that he loved the white woman" — said the 
old Chinaman, calmly — "and that he was 
through with lur. I did not know him; or 
of her — friendship — with him. I did not even 
know, until she told me, yesterday, that he 
should have made my daugnter his wife. But 
when I sent a message to him he tore it. 
And laughed at my messenger. . . ." The old 
Chinaman touched the star's body, very 
gently, with the toe of one shabby slipper. 
And then — 

"Tomorrow is our New Year," he said, 
"and the men of my race must always face 
that New Year clean. I had — a debt — to 
settle!" 



123 



My Life— So Far 



1 CONTINUED FROM P.iCE 95 1 



had a party with Gaynor and me for honor 
guests. 

And then I made "7th Heaven" with 
another fine person, Frank Borzage. On the 
crest of my intense delight at two big pictures 
I made a comedy, "Two Girls Wanted," and, 
while I was laughing away my vivacious 
scenes, my Jonesy left us; my mother broke 
down at his passing and was whisked away to 
Charles Farrell's beach by Charlie where, for 
five days and nights, he made every effort to 
amuse her and distract her mind from our 
great loss. 

Jonesy had lived to see the glory of the open- 
ing night of "7th Heaven." He had hved 
to hear the crowds hail Janet Gaynor as a new 
star. He had lived to see a dream which was 
almost an obsession come true. He had sat 
by my side in the darkened theater, with Herb 
Moulton at my left, with mother and Helen 
and my girl chum from San Francisco, and had 
heard the little staccato bursts of applause as 
Frank Borzage 's picture unreeled on the screen. 
In front of us sat Charles Farrell and whenever 
a particularly spontaneous burst of applause 
came Charlie would reach back and grab my 
hand, or I would pummel the neck of his dinner 
jacket. 

But now Jonesy was gone. Mother had been 
in the hospital. The sudden shock of Jonesy's 
death had been bad for her health. 

A LL about me, people were telling me how 
-'•■splendid I was as an actress. Women, far 
more e.xperienced in the motion picture world 
than I was, would grasp my hand and tell me, 
in truth, that I had done things in my few 
pictures that they had longed to do. .\i this 
party and that, my praises were sung. I was 
getting three hundred dollars a week. Our 
expenses were mounting. Doctor bills and 
those of the hospital. I was now Janet Gaynor, 
star, not a httle girl who could slip into an in- 
expensive gingham dress and pass unobserved. 
We must five in a nicer home. The one on 
Selma Avenue, just around the corner from 
where we had li\'ed when we first came to 
Hollywood, was not adequate. 

.'^U about me people were telling me I should 
demand more money. I will admit that I was 
influenced. I went to Mr. Sheehan and told 
him I must have more money. I told him I 
wanted fifteen hundred dollars a week. Others 
on the lot, not as valuable, I thought, were 
getting as much, if not more. He told me 
"no," not yet. That "7th Heaven" was 
barely released; "Sunrise" not at all. That 
the Fox company was not yet realizing on the 



amount of money they had e.xpended on me. 
That they would make money and share it 
with me, later. 

But bills kept coming in. Our Jonesy was 
gone. We were again three \/omen dependent 
on each other. People were taking sides in the 
thing. Papers were coming out bludgeoning 
Mr. Sheehan; trying to force the Fox people 
to give me more money. Charles Farrell, who 
was getting one hundred and fifty a week, 
struck out for more. We were making " Street 
Angel" then. I think it was the saddest pic- 
ture engagement I have ever had. I did not 
want Mr. Sheehan to think I was ungrateful 
to him and to the Fox company for what they 
had done for me. I knew I was so much chattel 
on which they had placed money, but I also 
felt that I was worth more money now, not 
later. 

I had saved nothing from my previous 
salaries. There had been little to save. 

I placed the whole thing in the hands of an 
attorney. I could not give my strength to 
" Street Angel " when I had to worry about my 
contractual difficulties. That gave rise to 
more talk. 

It was a sad, a sickeningly sad, occurrence. 
I never want it to occur again. 

It was settled finally; amiably and to my 
entire satisfaction. 

My contract runs for five years, on a grad- 
uating scale at a rate that is exceedingly good 
to me. 

T THINK I never felt so happy in my life as 
-'- when I signed my new contract with Mr. 
Sheehan, cried a bit, and assured him that my 
loyalty and gratitude was his and had been his 
all the time. 

It was after the difficulties had cleared that 
the company gave me my trip to New York, 
to Philadelphia, Chicago, with parties at Emil 
Fuchs' studio, at the Sherman House. Life 
Was, and is, very full. 

It is very full of pleasant pastimes and pleas- 
ant boys. Herb Moulton, now an ex-fiance, 
still a sweet and darling boy; Charlie Farrell, 
whom I adore as a fine friend; Lydell Peck of 
San Francisco, whom I also adore as a fine 
friend. Some day, it might be any day, I 
would like to marry. 

I do not see why a screen career should ham- 
per one from being an excellent wife. I might 
marry an actor. I might marry a broker or a 
lawyer. 

But my great regret, and that of Gaynor's, 
is that Jonesy cannot be there, in flesh, to 
witness the wedding. 



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"ADORATION" — First National. — From the 
story by Lajos Biro. Adapted by Winifred Dunn. 
Directed by Alexander Korda. The cast: Elena, 
Billle Dove; Serge, Antonio Moreno; Muravjev, Emile 
Chautard; Ninelle, Lucy Doraine; Ivan, Nicholas 
Bela; Vladimir, Nicholas Soussanin; Baroness, Wini- 
fred Bryson; Baron, Lucien Prival. 

"A MAN OF PEACE"— Warners.— Story by 
Joseph Jackson. Directed by Bn-an Foy. Photog- 
raphy by Ed. B. Dupar. The cast: Jane, Ann 
McKay; Tom, Hobart Bosworth; Trigger Eye, Charles 
Middleton. 

"AMAZING VAGABOND, THE"— FBO.— From 
the story by Frank Howard Clark. Continuity by 
Frank Howard Clark. Directed by Wallace Fox. 
Photography by Virgil Miller. The cast: Jimmy 
Hobbs, Bob Steele; Geo. Hobbs, Tom Lingham; Bill 
Wharton, Jay Morley; Haywire, Perry Murdock; Phil 
Dunning, Lafe McKee; Alice Dunning, Thelma 
Daniels. 

"AVALANCHE" — Paramount. — ^From the story 
by Zane Grey. Adapted by J. Walter Ruben and Sam 
Mintz. Directed by Otto Brower. The cast: Jack 
Dunton, Jack Holt; Kitly Mains, Doris Hill; Grace 
Stillwell, Baclanova; Verde, John Darrow; Mr. Mains, 
Guy Oliver; Jack Dunton^(al 12), Richard Winslow. 

"AVENGING RIDER, THE"— FBO.— From the 
story " Dancing Hoofs" by Adelc Buffington. Adapt- 
ed by Frank Howard Clark. Directed by Wallace 
Fox. The cast: Tom Larkin, Tom Tyler; Sally 
Sheridan, Florence Allen; Frankie Sheridan, Frankie 
Darro; Bob Gordon, Al Ferguson; Sheriff, Bob Flem- 
ing; Dancing Professor, Arthur Thalasso. 

"A WOMAN OF AFFAIRS"— M.-G.-M.— From 
the story by Michael Arlen. Continuity by Bess 
Meredyth. Directed by Clarence Brown. The cast: 
Diana, Greta Garbo; Neville, John Gilbert; Hugh, 
Lewis Stone; David, John Mack Brown; Geoffrey, 
Douglas Fairbanks, Jr.; Sir Montague, Hobart Bos- 
worth; Conslance, Dorothy Sebastian. 

"BLACK ACE. THE"— Pathe.— From the 
screen play by Ford I. Beebe. Scenario by Ford I. 
Beebe. Directed by Leo. D. Maloney. Photography 
by Edward A. Kull. The cast: Dan Stockton, Don 
Coleman; Dan Stockton, as a boy. Billy Butts; Mary 
Evans, Jeanette Loff; "Draw" Evans, J. P. McGowan; 
"Cherokee" Kaul, Noble Johnson; "Slim" Brisco, 
William Steele; Ranger Griggs, Ben Corbett; SergearU 
McCann, Edward Jones. 

"CAVALIER. THE " — Tiffany-Stahl. — From 
the novel "The Black Rider'.' by Max Brand. 
Adapted by 'Victor Irvin. Directed by Irvin Willat. 
Photography by John Stevens and Harry Cooper. 
The cast: El Cabellero, Richard Talmadge; Taki, 
Richard Talmadge; Lucia D'Arquisla, Barbara Bed- 
ford; Her Aunt, Nora Cecil; Ramon Torreno, David 
Torrence; Carlos Torreno, David Mir; Sergeant Juan 
Dinero, Stuart Holmes; Pierre Gaston, Christian 
Frank; The Padre, Oliver Eckhardt. 

"CITY OF PURPLE DREAMS, THE"— Ray- 
art. — From the story by Edwin Baird. Adapted by 
George Pyper. Directed by Duke Worne. Photog- 
raphy bv Walter Griffin. The cast: Esther Strom, 
Barbara' Bedford; Daniel Randolph, Robert Frazer; 
Symington Otis, David Torrence; Kathleen Otis, 
Jacqueline Gadsdon; "Slug" Nikolay, Paul Panzer; 
Kelly, Jack CarUsle; Quigg, Henry Roquemore. 

"DRIFTWOOD" — Columbia. — From the story 
by Richard Harding Davis. Adapted by Lillie Hay- 
ward. Directed by Christy Cabanne. Photography 
by Joe Walker. A. S. C. The cast: Jim Curtis, Don 
Alvarado; Daisy Smith, Marceline Day; Johnson, 
Alan Roscoe; Barlow, J. W. Johnston; "Doc" Prouty, 
Fred Holmes; Lola, Fritzi Brunette; Mrs. Prouty, 
Nora Cecil ; Johnson's Henchman, Joe Mack. 

"GERALDINE" — Pathe.— From the story by 
Booth Tarkington. Adapted by Carey Wilson. 
Directed by Melville Brown. Photography by Dave 
Abel. The cast: Geraldine, Marion Nixon; Eddie, 
Eddie Quillan; Mr. Wygate, Albert Gran; Bell 
Cameron, Gaston Glass. 

"HARVEST OF HATE, THE"— Universal.— 
From the story by William Lord Wright and George 
Plympton. Directed by Henry MacRae. Photog- 
raphy by George Robinson. The cast: Rex, Rex; 
Jack Merritt, Jack Perrin; M'argie Smith, Helen 
Foster; Martin Trask, Tom London; Starlight, Star- 
light. 

"HEAD OF THE FAMILY, THE"— Gotham.— 
From the story by George Randolph Chester. 
Scenario by Peter Milne. Directed by Joseph C. 
Boyle. The cast: Bill Moran, William Russell; 
Michael Dennis O'Sliaughnessy, Mickey Bennett; 
Alice Sullivan, Virginia Lee Corbin; Charley Sullivan, 
Richard Walling; Mabel Manning, Alma Bennett; 
Daniel Sullivan, William J. Welsh; Maggie Sullivan, 
Aggie Herring. 



"KING COWBOY"— FBO.— From the story by 
S. E. V. Taylor. Continuity by Frank Howard Clark. 
Directed by Robert DeLacy. Photography by 
Norman DeVol. The cast: Tex Rogers, Tom Mix; 
Polly Randall, Sally Blane; Ralph Bennett, Lou 
Meehan; "Shorty" Sims, Barney Furey; Abdul El 
Hassan, Frank Leigh; Ben Suliman AH, Wynn Mace; 
Jim Randall, Robert Fleming. 

"KING OF THE RODEO "—Universal.— From 
the story by B. M. Bower. Adapted by George 
Morgan. Directed by Henry MacRae. The cast: 
Montana Kid, Hoot Gibson; Dulcie Harlan, Kathrj'n 
Crawford; Chip, Sr., Charles K. French; Mother, 
Bodil Rosing; J. G., Harry Todd • Haj-/aJ!, Joseph W. 
Girard; Slim, Slim Summerville; Shorty, Jack Knapp; 
Weasel, Monte Montague. 

"LEGEND OF GOSTA BERLING, THE"— 
Swedish Biograph. — From the story by Selma 
Lagerlof. Directed by Mauritz Stiller. The cast: 
Countess Elizabeth Dohna, Greta Garbo; Costa Berling. 
Lars Hanson; Countess Martha Dohna, Ellen Ceder- 
stron; Ebba Dohna, Mona Martennson; Marianne 
Sinclaire, Jenny Hasselquist; Mrs. Gustafa Sinclaire, 
Karin Svanstrom; Squiress Marjaretha Somelius, 
Gerda Lundequist- Count Henrik Dohna, Torsten 
Kammeren; Capt. Christian Berg, Svend Tornbech. 

"MAKING THE VARSITY "—Excellent.— 
From the story by Elsie Werner and Bennett South- 
ard. Directed by Chff Wheeler. Photography by 
Edward Kull. The cast: Ed Ellsworth, Rex Lease; 
Wally Ellsworth, Arthur Rankin; Estelle Carter, 
Gladys Hulette; Mrs. Ellsworth, Edith Yorke; Gladys 
Fogarty, Florence Dudley; Jerry Fogarty, Carl Miller; 
Cridlcy, James Latta. 

" NAPOLEON'S BARBER" — Fox-Movietone. 
• — From the story by Arthur Caesar. Scenario by Ben 
Holmes. Directed by John Ford. Photography by 
Joseph August. The cast: A^o^o/eo«, Otto Matiesen; 
Empress Josephine, Natalie Golitzin; Napoleon's 
Barber, Frank Reicher; Barber's Wife, Helen Ware; 
Barber's Son, Philippe de Lacy; Tailor, D'Arcy 
Corrigan; Blacksmith, Rus Powell; Peasant, Michael 
Mark; French Officer, Buddy Roosevelt; French 
Officer, Ervin Renard; French Officer, Y. Troubetsky; 
French Officer, Joe Waddell; Soldier Bit, Henry 
Herbert. 

"NAUGHTY BABY"— First National.— From 
the story by Charles Beahan and Garrett Fort. 
Scenario by Tom Geraghty. Directed by Mervyn 
LeRoy. The cast: Rosalind McCill, Alice White; 
Terry Vandeveer, Jack Mulhall; Bonnie Le Vonne 
Thelma Todd; Polly, Doris Dawson; Terry's Pal, 
James Ford; Goldie Torres, Natalie Joyce; Bonnie's 
Pal, Frances Hamilton; Dugan, Fred Kelsey; Madame 
Fleurette, Rose Dione; Mary Ellen Toolen, Fanny 
Midgley; Benny Uzzy) Cohen, Benny Rubin; Joe 
Cassidy, Andy Devine; Tonny Caponi, Georgie Stone; 
Terry's Valet, Raymond Turner; Toolen, Larry 
Banthim. 

"ON TRIAL" — ^Warner-Vitaphone. — From the 
stage play by Elmer Rice. Scenario by Robert Lord. 
Directed by Archie Mayo. The cast:. Joan Trask, 
Pauline Frederick; Robert Strickland, Bert Lytell; 
May Strickland, Lois Wilson; Gerald Trask, Holmes 
Herbert; .Arbuckle, Defense Attorney, Jason Robards; 
Gray, Prosecuting Attorney, Richard Tucker; Stanley 
Glover, Johnnie Arthur; Doris Strickland, Vondell 
Darr; Ttirnbull, Franklin Pangborn; Judge, Edmund 
Breese; Dr. Morgan, Edward Martindel; Clerk, Fred 
Kelsey. 

"OUTCAST " — First National. — From'the stage 
play by Hubert Henry Davies. Adapted by Agnes 
Christine Johnston. Directed by William A. Seiter. 
The cast: Miriam, Corinne Griffith; Tony. James 
Ford; G(;o#i-fy, Edmund Lowe; Hugh, Huntly Gordon; 
Valentine, Kathryn Carver; Mable, Louise Fazenda; 
Moreland, Claude King; Jack, Sam Hardy; Mrs. 
O'Brien, Patsy O' Byrne; Fred, Lee Moran. 

"POWER OF THE PRESS, THE"— Columbli. 
— From the story by Frederick A. Thompson. 
Adapted by Sonya Levien. Directed by Frank 
Capra. Photography by Chet Lyons. The cast: 
Clem Rogers, Douglas Fairbanks, Jr.; Jane A twill, 
Jobyna Ralston; Marie, Mildred Harris; Blake, Philo 
McCullough; Van, Wheeler Oakman; City Editor, 
Robert Edeson; Mr. Atwill, Edwards Davis; Johnson, 
Del Henderson; District Attorney, Charles Clary. 

"QUEEN OF BURLESQUE"— Tiffany-Stahl. 
— From the story by H. R. Durant. Adapted by Lois 
Leeson. Directed by Albert Ray. Photography by 
Ernest Miller. The cast: Molly Wilson, Belle 
Bennett; Jim Wilson, Joe E. Brown; Peggy Lamer, 
Alberta Vaughn; Dan Kingsley, Charles Byer. 

"RED MARK, THE"— Pathe.— From the story 
by John Russell. Adapted by Juhen Josephson. 
Directed by James Cruze. Photography by Ira 
Morgan. The cast: Zelie, Nena Quartaro; Bibi-Ri, 
Gaston Glass; De Nou, Gustav Von Seyflertitz; 
Mother Caron, Rose Dione; Papa Caron, Luke Cos- 
grave; Sergeo, Eugene Pallette; Bombiste, Jack Roper; 
Lame Priest, Charles Dervis. 



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"RED WINE"— Fox.— From the story by Ray- 
mond Cannon. Scenario by Andrew B. Bennison. 
Directed by Raymond Cannon. The cast: Alice 
Cook. June Colh'cr; Charles H. Cook, Conrad Nagcl; 
Jack Brown. Artliur Stone; Miss Scott, Sharon Lynn; 
Jack's First Friend, E. Allvn Warren; Jack's Second 
Friend, Ernest Hilliard; Jack's Third Friend, Ernest 
Wood; Jack's Fourth Friend, Marshal Babe Ruth; 
Stenographer, Dixie Gay. 

"RILEY THE COP"— Fox.— From the story by 
James Gruen and Fred Stanley. Scenario by James 
Gruen and Fred Stanley. Directed by John Ford. 
Pliotography by Charles Clarke. The cast: James 
Riley (the Cop), Farrell Macdonald; Lena Kraus- 
meyer, lx)uisc Fazenda; Mary Coronelli, Nancy 
Drexel; Joe Smith, David Rollins; Hans Krausmeyer, 
Harry Schultz; Caroline. Mildred Boyd; Julius 
Kuchendorf, Ferdinand Schumann Heink; Sergeant of 
Police. Tom Wilson; Judge Coronelli, Del Henderson; 
Mr. Kuchendcxrf. Russtll Powell; Munich Cab Driver, 
Otto H. Fries; Paris Cab Driver, Billy Bevan; Crook, 
Mike Donlin. 

"ROMANCE OF THE UNDERWORLD"— 

Fox. — From the stage play by Paul Armstrong. 
Adapted by Sidney Lanfield and Douglas Doty. 
Directed by Irving Cummings. Photography by 
Conrad Wells. The cast : Judith Andrews. Mary 
Astor; Derby Dan Manning, Ben Bard; Edii'in Burke, 
Robert Elliott; Stephen Ransome. John Boles; Cham- 
pagne Joe. Oscar Apfel; Blondy Nell, Helen Lynch; 
Asa Jenks. William H. Tooker. 

"SCARLET SEAS '—First National.— From 
the story by W. Scott Darling. Scenario by Bradley 
King. Directed by John Francis Dillon. The cast: 
Donkiyi. Richard Barthelmess; Rose, Betty Compson; 
Margaret, Loretta Young; Johnson. James Bradbury, 
Sr.; Toomey. Jack Curtis; Capi. Barbour, Knute 
Erickson. 

"SHAKEDOWN. THE" — Universal. — From 
the story by Charles A. Logue. Adapted by Charles 
A. Logue. Directed by William Wyler. The cast: 
Marjorie. Barbara Kent; Dave Hall, James Murray; 
Bouncer. Harry Gribbon; Manager, Wheeler Oak- 
man: Salesman. Jack Raymond; Clem, Jackie Hanlon; 
Battling Roff, George Kosaraaros. 

■ SILENT SHELDON "— Rayart.— From the 

story by Pierre Conderc. Continuity by Pierre 
Conderc. Directed by Harry Webb. Photography 
by William Thornly. The cast: Jack Sheldon, Jack 
Perrin; Ivory, his Valet. Martin Turner; Rex. his Dog, 
By Himself; Starlight, his Horse, by Himself; Mary 
Watkins, Josephine Hill; Her Father. Whitehorse; 
Bill Fadden, Leonard Chaplan; Joe Phillips, Lew 
Meehan; The Sheriff. Robert MacFarland. 



"SINNERS" PARADE"— Coli;mbia.— From the 
story by David Lewis. Adapted by Beatrice Van. 
Directed by John G. Adolfi. Photography by James 
Van Trees. The cast: .4/ Morton, Victor Varconi; 
Mary Tracy, Dorothy Revier; Bill Adams, John 
Patrick; Connie Adams, Edna Marion; Sadie, Mar- 
jorie Bonner; Mrs. Adams, Clarissa Selwynnc; 
Chauffeur, Jack Mower. 

"SINS OF THE FATHERS"— Par amount.— 
From the story by Norman Burnstine. Adapted by 
E. Lloyd Sheldon. Directed by Ludwig Berger. The 
cast: Wilhelm Spengler, Emil Jannings; Gretla. Ruth 
Chatterton; Totn Spengler, Barry Norton; Mary 
Spengler. Jean Arthur; Otto. Jack Luden; Mother 
Spengler. ZaSu Pitts; Bill, Matthew Betz; The HtRh- 
Jacker, Harry Cording; The Count, Arthur Housman; 
The Eye Specialist, Frank Reicher. 

"SIOUX BLOOD"— M.-G.-M.— From the story 
by Houston Branch and Harry Sinclair Drago. 
Scenario by George C. Hull. Directed bv John 
Waters. The cast: Flood, Tim McCoy; IVhite Eagle. 
Robert Frazer; Barbara Ingram, Marion Douglas; Mr. 
Ingram. Clarence Geldert; Crazy Wolf, Chief Big 
Tree; Cheyenne Jones, Sidney Bracy. 

"SOMEONE TO LOVE"— Paramount.— From 
the story by Alice Duer Miller. Adapted by Ray 
Harris. Directed by F. Richard Jones. The cast: 
William Shelby. Charles Buddy Rogers; Joan Ken- 
dricks. Mary Brian; Aubrey Weems. William Austin; 
Michael Casey. Jack Oakie; Mr. Kendricks. James 
Kirkwood; Miss Hayes, Mary Alden; Sim?nons, 
Frank Reicher. 

"SOUTH OF PANAMA" — Chesterfield. — 
From the ston,' by L. A. Young. Adapted bv Arthur 
Hoerl. Directed by Bernard F. McEveety. The 
cast: Carmelita. Carmelita Geraghty; Emilio Cer- 
vaTites. Edouardo Raquello; Dick Lewis. Lewis 
Sargent; ".4c*'" Carney, Philo McCullough; "Palsy." 
Marie Messinger; "Red" Hearn, Henry Arras; 
Presidenle Laredon. Carlton King; Garcia, Joe Burke; 
Capt. of Guard, Fred Walton. 

"VIKING. THE" — Technicolor-M.-G.-M. — 
From the novel "The Thrall of Leif the Lucky" by 
Ottilie A. Liljencrantz. Scenario by Jack Cunning- 
ham. Directed by R. William Neill. Photography 
by George Cave. The cast: Leif Ericsson, Donald 
Crisp; Helga, Pauline Starke: Ahvin. Le Roy Mason; 
Eric the Red. Anders .Randolf; 5(gwrd,| Richard Alex- 
ander; Egil. Harr>' Lewis Woods; Kark, Albert 
MacQuarrie; King Olaf, Roy Stewart; Odd, Torben 
Meyer; Lady Editha, Claire McDowell; Thorhild. 
Julia Swayne Gordon. 



Brickbats and Bouquets 



I COXTIXUED FROM PACE 8 ] 



The Weighty Question 

Omaha, Neb. 
In reference to Lucile Boyd's letter which 
appeared in the November Photoplay: She 
tells the whole world that she thinks the stars 
should put on some weight. I agree with her — 
almost. She gave Molly O'Day as an example. 
Miss O'Day has always been one of my 
favorite stars, but I'll have to admit that she 
was much too hefty in her latest picture. Her 
sister, Sally O'Neil is too thin. Two stars who 
are just about right are Renee Adoree and 
Clara Bow. Billie Dove is the most beautiful 
girl on the screen, but she is also a little too 
thin. Ruth Taylor is absolutely scrawny, 
and I can't stand her. From my experience, I 
find men prefer a girl who is at least pleasantly 
plump. Georgiaxa Rjbal. 

Those "Cinema Art" Theaters 

Philadelphia, Penna. 

Recently there opened in this city, one of the 
Motion Picture Guild's Little Theaters, cater- 
ing to the "minority taste." Its first picture 
was "Siegfried." The local critics praised it 
to the sky. It was with the anticipation of 
viewing a wonderful picture that I went to see 
it. But as the picture unfolded, I reaUzed that 
I had been fooled. The beautiful sets were 
made ugly by crude lighting and mediocre 
acting. If this is beauty and art, give me the 
American films with all their gaudiness. They 
may be full of gilt bathrooms and beautiful 
but dumb stars, but nine-tenths of them are 
better than these so-called artistic films. 

The Little Theater offers, as coming attrac- 
tions, such films as Xazimova in "Salome," 



which I saw at a cheap nickelodeon about seven 
years ago, and Emil Jannings in "Tartuffe," 
which was severely criticized by Photoplay 
several months ago. 

Let the Motion Picture Guild continue its 
work of "saving" the movies, but give me 
Photoplay's "Six Best of the Month" and 
I shall not want for finer or better entertain- 
ment. W. W. S. 

Harsh Words for Von 

Salem, Oregon. 
After witnessing "The Wedding March" — 
"Sole Creation of Eric vonStroheim" — I must 
say, if this is Art, I'm Conrad Nagel. E.xactly 
what is supposed to be the "message" of such 
nauseous slush? One would think it must have 
been penned by Jim Tully; but no, the noble 
Von takes sole credit. It is an insult to the 
intelligence of any decent person to have been 
inveigled into paying fifty cents for the privi- 
lege of spending' two hours in a theater where 
such an orgy of bestiahty is presented. 

Mrs. S. L. Peters. 

The Demon "Kiddie" 

Los Angeles, Calif. 
Judging from all indications, as proffered by 
current screen productions, that pest of all 
modern entertainment — the Kiddie — is still 
with us. We go to a movie at night seeking 
relaxation and find ourselves face to face with 
a Kiddie Revue! And what artificial lumps 
of humanity these kiddies are, with their 
skinny shanks and frizzled heads. What shrill, 
piping little voices! Can't something be done 
to those females who push their child prodigies 
into the limelight? Mrs. R. C. Fisher. 




BUY 

CHRISTMAS 

SEALS 

"W70ULD you buy Christ- 
^^ mas Seals if you knew 
they had helped to reduce the 
tuberculosis death-rate? In 
the past twenty years the 
death-rate has been cut in 
half — a saving of more than 
125,000 lives in the year 
1928 alone. 

"Buy Christmas Seals," for 
they are fighting tuberculosis 
every day of the year. 

Christmas Seals give pro- 
tection to your friends, to 
your family — and to you! 

The National, State, and Local Tuberculoeis 
Asaociationa of the United States 



Kissable 

Jjps 




Lips that tantalize ran be yours in two months, Pertertly shaped 
d without cost or diHcomfort. M. Trilety's new lipshnper hns b'ca 
UAod with miraculous ro.xulte, bjr thouBAnde of men, women and (iris. 
Reduces thick, protruding, Droniinenl lipalto norma) 
'c. Wear il at niiht for two months and you ~ 

ill have lips that rival those of the most famous 
beauties of ecreon and state. 

'rite for full information and copies of tettera 
from many_ who have used the Trilety Lipshnpcr. 
oblieation on your part. 

M. TRILETY 

246 SP, W.U. BIdg.. Binghamton, N. Y. 




w 



hUWim-TTJl 



r women earn S25 to S5U a week at home. All or part 
.. FoRcinatmB work, Nothini to sell- We teach you at 
home- FurniBh aU tools and materials. AK I CRAFT 
6TUDI0S Uept. fi-3. 427 Diveraer Porkwsy. Chicaio. 



When you write to advertisers please mention PHOTOPLAY MAGAZINE. 



126 



Photoplay Magazine — Advertising Section 





^ this he Topical American Girl i 



? 



SMART Set is trying to find the girl who has 
all the characteristics which justify 
her to be known as the Typical American 
Girl. 

What are these characteristics? You 
American girls — tell us the requirements 
necessary for a girl to be typical of your sex. 



The only conditions are that she be between 
the ages of 18 to 30 and unmarried. 

Smart Set will pay $100 in cash prizes 
for the best written descriptions of the Typical 
American Girl. Just a letter will do. It is 
not a beauty contest. Full details are 
printed in Smart Set. 



Start Reading SMART SET Now 

The Smart Young Woman^s Magazine 



EVERY girl wants personality, 
beauty and popularity. Every 
girl wants a successful career and a 
successful marriage. Smart Set helps 
her attain these. 

In Smart Set — famous beauties tell 
you their beauty secrets . . . mem- 
bers of the "400" tell you how to ac- 
quire the social graces . . . famous 
personalities tell you how to acquire 
personality and popularity .... famous 
authorities tell you how to be happy in 
love and marriage . . . outstanding 
successful women tell you how to 
succeed in your career. And you are 



also shown the newest fads and fash- 
ions purchasable in the smart shops 
of your own town. 

In addition to these and numerous 
other helpful features, Smart Set 
prints a wealth of fascinating, clean, 
wholesome fiction. 

You will be delighted with Smart 
Set. Start reading it today. 



January 



Smart Set 

for the smart young woman 

OUT Now 



Every advertisement in PHOTOPLAT MAGAZINE la guaranteed. 



















METRO-Goldwyn-Mayer gave you 
"THE Big Parade" and "Ben-Hur." 
NOW comes the mightiest of all! 
THE greatest romance of all time 
GET ready for your biggest thrill! 
THE Epic of the Klondike Gold Rush! 

SOUND OR SILENT 

If your theatre is equipped for Sound 

Pictures, you can hear "The Trail of 

'98" in Metro Movietone. 



METRO-GOLDW 



^:^j^Jt^'' 




I 




/■■% 



CLARENCE BROWN'S 

Production based 
on the norel by 

Robert W. Service 

Tt'ilh 

DOLORES DEL RIO 

RALPH FORBES 

atid 
KARL DANE 



Adaptation by Benjamin GlaZBT 

Continuity by Benjamin Glazer and. 

Waldemar Young 

Titles by Joe Farnham 

Directed by Clarence Brown 



^ta. 



Fighting the perilous White Horse 

Rapids is the biggest thrill you've 

ever had. 




The desperate struggle to cross the 

Chilkoot pass is shown vividly together 

vtrith the gigantic snow slide engulfing 

hundreds! 




y 



The burning of Dawson City, the 
screen's greatest spectacle to date! 



AYER 



"More stars than there are in 



Heaven" 



\¥ill it fade ? Will it shrink ? 




Let the saleswcmaii in the smart 
shcp tell yen Tvhy this care is safe 



Whenever you buy anything especially 
delicate or costly — a piece of cobwebby 
lingerie, or a gay, fine sweater — ask the 
saleswoman how to iiash it. 

The two important precautions she 
will advise are these: "Use lukewarm 
water" and "Use Ivory Soap." (Among 
thousands of salespeople and buyers in 
leading shops of 30 cities, unprejudiced 
inquiry reveals that Ivory is outstand- 
ingly first choice by far as the safest 
soap for silks and woolens.) 

Let several examples of actual recom- 
mendations given recently to customers 
in hundreds of the finest and largest 



stores of the country tell you why sales- 
people everywhere advise Ivory: 

Their own words 

For silk underwear: "Use Ivory Flakes. 
It is very mild and won't fade the gar- 
ment. Unfortunately some other soaps 
cut and rot silk in time." {Chicago — a 
leading department store) 

For printed frocks: "Ivory is the 
purest soap you can buy and if I were 
you, I shouldn't take a chance with 
anything else." (Boston) 

For fragile sweaters:" Ivory is so mild 
it cannot harm fabrics." {New York) 



Naturally a soap that is used to bathe 
tiny babies in leading hospitals is extra 
safe for fine silks and woolens . . . So — • 
unless a fabric will run or shrink in pure 
water alone, salespeople say with con- 
fidence, "You can wash it safely with 

°'"^' PROCTER & GAMBLE 

FREE ! A little book "Thistledown 
Treasures — their selection and care, " an- 
swers such questions as: Can it be washed? 
Will it shrink? AVill it fade? How can I 
whiten yellowed silk and wool? Simply send 
a post card to Winifred S. Carter, Dept. 
VV-19, P. O. Box 1801, Cincinnati, Ohio. 



Among salespeople in the finest 
stores of 30 leading cities. Ivory 
is overwhelmingly first choice as 
the safest soap for fine silks 
and woolens. 



IVORY 




qg^Vioo % pu RE 



C 1929. p. & G. Co. 



KIND TO EVERYTHING IT TOUCHES 



'■Ihe ISlational (^titde to Kjviotton 'ftctures 




hat Are Your Cg 

This Cover Drawing is a 
Color Chart For Clothes 

See Page 42 



"Going Hollywood"- M^^ 

The Town Does To People 




a 







©1929, C.C.Co. 



What is the difference between Baby Ruth 
and candy costing a dollar a pound? It 
isn't in quality; it isn't in purity; it isn't 
in taste. For in Baby Ruth you will enjoy 
the purest chocolate from sunny tropical 
plantations ; the sweetest golden nuts, 
hand-picked for plump- 
ness; and like delicacies 
combined in rare flavor. 



In this convenient individual 
packet, or the one pound 
Family Box for home use 



One great difference is that there are no 
gilt ribbons, no fancy boxes. That is one 
reason why we can make Baby Ruth so 
generously good for only 5c. So if you buy 
candy for its delicious, tempting refresh- 
ment, join the millions who daily prefer 



CURTISS 

CANDY COMPANY. CHICAGO 

OTTO SCHNERING, President 



Baby Ruth to all other can- 
dies. Eatitasitisorsliced. 
Treat yourself today! 



Photoplay Magazine — Advertising Section 



Vink 
Tooth Brush ? 




A LITTLE tinge of "pink" upon a 
tooth brush may be a trivial and 
unimportant thing. But more hkely it 
is a pretty broad hint that somewhere 
in your gum wall is a tender, spongy 
spot , . . one which you can quickly 
restore to normal with Ipana and mas- 
sage ... or one which, if negleaed, 
could easily result in more serious and 
more stubborn troubles. 

* * * 
One great element present in the lives 
of all of us is having a bad effect upon 
our gums. It is this soft modern food 
we eat, fibreless, robbed of roughage, 
creamy, and all too easy to eat. 





ever neai 

Start with Ipana 



today! 



When 



It does not give to the gums the 
stimulation they need to remain in 
health. It causes them to grow flabby 
and soft ... to bleed easily. 

How Ipana and Massage 
restore the gums to health 

In half a minute, every time you brush 
your teeth, you can remedy the damage 
that your all too soft diet is doing to 
your gums. 

For a light massage with the finger or 
the brush will restore to your gums the 
stimulation which they need so much. 
Thousands of dentists recommend it, 
for they know the good it does. 

Thousands of them, too, recommend 
that the massage be effected with Ipana 
Tooth Paste. For Ipana, because of its 
content of ziratol (a recognized anti- 
septic and hemostatic) has a salutary and 
stimulating effect upon the gums fully 

vou write to advertisers please metitlon PTTOTOri-.VT MAGAZIXB. 



as important as the massage. It will 
make your gums sturdier, stronger, more 
resistant to disease. 

Make a month's trial of Ipana 

The coupon oflfers a 10-day sample, 
gladly sent. But the better way is to get a 
full-si2e tube of Ipana at the drug store 
today. Start to use it tonight. Brush 
your teeth and gums with it, faithfully, 
twice a day, for one month. 

You will find it far more than a 
pleasant dentifrice — more than a good 
cleaning agent. With its regular use 
will come a sense of oral cleanliness 
you have never before known . . . and 
a firm and healthy gum structure that 
will defy the ravages of gum diseases. 

BRISTOL-MYERS CO., Dept. 1-29 
75 West Street. New York. N. Y. 

Kindly send me a trial tube of IPANA TOOTH 
PASTE. Enclosed is a two-cent stamp to cover partly 
the cost of packing and mailing. 



Addrtsi- 



City. 



^ .^.:^-*i--rvrM*r'jvrKE«^%j^t^ i^ ?^ r 



. Stau 



61929 



4 



Photoplay Magazine — Advertising Section 



PARAMOUNT 

takes an easy lead 
ill talking pictures" 




"THE CANARY 
MURDER CASE" 



Short Fea- 
turesProgram 
consists of 13 
Paramount- 
Christie short 
plays, 28 
Paramount 








"INTER- 
FERENCE' 



^ So stated the New York 
Morning "World" on the 
presentation at the Criterion 
Theatre of "Interference", 
Paramount's first All-Talking 
Picture. And public and crit- 
ics from coast 
to coast have 
echoed and 
re-echoed 
Paramount's 
triumph in 
this new form 

of entertainment! But great 
as "Interference" is, it is only 
a hint of the amazing Para- 
mount Talking Pictures that 
are coming to you. ^ Between 
now and July 1, 1929, Para- 
mount will present 22 ALL- 
TALKING Pictures with play- 
ers selected from the cream 

of Broadway 

talen t and 

Paramount's 

own great 

stars. In every 

particular — 

in story, in 

casting, and 
in direction, they are Para- 
mount—commanding all the PAHAMOUNT FAMOUS LASKY CORP., ADOLPH ZUKOR, PRES.. PARAMOUNT BUILDING, N. Y. C. 

Bveiy advcrtisemcDt in rilOTorl.AY MAGAZINE Is guaranteed. 



resources of 
the greatest 
organization 
in motion pic- 
tures. Today, 
as for 16 years, 
only Para- 
mount will ever surpass 
Paramount! ^ In addition. 
Paramount presents 17 part 
talking, singing and sound 
hits. ^ Many of these sound 
pictures will 
have "silent" 
versions as 
well, so if the 
theatre you 
now attend is 
not equipped 
for sound, 
you will still be able to see and 
enjoy these great Paramount 
Pictures. ^ Paramount's 




JEANNE 

EAGELS 

*THE LETTER' 



Talking and Singing Acts, 
and Paramount Sona 
Cartoons and "Famous Com- 
posers" Series. ^ Soon, the 
news reel that you all know 
as the best and most timely 
will be in sound, and when 
you hear Paramount Sound 
News you will realize that 
here, too. Paramount is su- 
preme. ^ No longer do 
talking pic- 
tures attract 
on novelty 
alone. You 
demand qual- 
ity and Para- 
mount sup- 
plies it. q "If it's a Para- 
mount Picture it's the best 
show in town "! 




"ARIE'S IRISH 
ROSE" 




"THE 
DOCTOR'S 
SECRET" 



zraramount 




The World's Leading Motion Picture Publication 



FREDERICK JAMES SHITB 

HANAOINQ EDIT08 




HARK LAICKIN 

WBS'n-:RN KIiITOR 



Contents 



M- ! ■' 



Vol. XXXV 






^JAMES R. Quirk 

= LUlfG'R-'-A'NiEl-P'tJBLIbHLR 



For 

February 

1929 



No. 3 



=«&> 



The Hiffh-Liffhts of This Issue 



ign-i.ig 



Cover Design Charles Sheldon 

Estelle Taylor — Pjiinted from Life 
As We Go to Press 6 

Last Minute News from East and West 
Brief Reviews of Current Pictures 8 

A Guide to Your Evening's Entertainment 
Brickbats and Bouquets 10 

The Voice of the Fan 

Sweets for Valentine's Day 13 

Photoplay's Cooli Book Tells You How to Prepare 
Them 

Friendly Advice on Girls' Problems 

Carolyn Van Wyck 16 
Photoplay's Personal Service Department 
Close-Ups and Long Shots James R. Quirk 27 

The Editor Tells You What's What and Who With- 
out Fear or Favor 

Co-Stars for Life 29 

The Scenario of the Dolores Costello-John Barry- 
more Romance 

Going Hollywood Ruth Waterbury 30 

What Happens to People in the Land of the Cinema 
Something About Myself 

As told to Katherine Albert 32 

Beginning the Life Story of Nils Asther 

The Holy Racketeers Leonard Hall 35 

A Cross-Cut Picture of the Censorial Mind 
The Hot Baby of Hollywood 

Katherine Albert 36 

Otherwise Lupe Velez 
The Studio Murder Mystery The Edingtons 38 

More Confessions in this Baffling Murder Serial. 
Photoplay Offers $3,000 for Solutions of This Crime 

What Are Your Correct Colors? 

Laurene Hempstead 42 

The First of a Series of Articles Telling How to Add 
to Your Own Good Looks Through Correct Use of 
Colors 



The Politest Man in Hollywood (Fiction Story) 
Agnes Christine Johnston 

A Different Sort of Off-Screen Romance of a Screen 
Personality 

Gossip of All the Studios Cal York 

What the Film Folk Are Doing and Saying 

Not Like Dad Eloise Bradley 

The Story of Douglas Fa'rbanks, Jr., Is One of Great 
Love and Little Understanding 

The Shadow Stage 

Reviews of Latest Silent and Sound Pictures 

The Stars' Mad Night Life Ruth M. Tildesley 

Expose of What Goes On in the Gilded Palaces of 
Hollywood 

It Gets a Guy Sore (Fiction Story) 

Stewart Robertson 

In Which Mr. Guffey's Dream Girl Castle Tumbles 
Our Own Baby Stars 

Photoplay Picks Its 1929 Celluloid Prospects 

Diet for Health and Beauty 

Dr. H. B. K. Willis 

Have You a Problem of Diet? Let Dr. Willis of 
Photoplay Be Your Adviser 

Your Clothes Come from Hollywood 

Lois Shirley 
The Influence of the Screen Creations 

Speech Is Golden 

The Talkies Are Bringing Old Favorites Back 

Amateur Movies 

Frederick James Smith 

Doings of the Non-Professional Cinematographers 

Questions and Answers The Answer Man 

What You Want to Know About Films and Film 
Folk 

Casts of Current Photoplays 

Complete for Every Picture Reviewed in This Issue 



44 



46 



50 



52 



64 



66 



68 



69 



70 



72 



74 



99 



134 



A complete list of all photoplays reviewed in the Shadow Stage this issue will be found on page 14 



«4?= 



=<?» 



Published monthly by the Photoplay Publishing Co. 
Editorial Offices, 221 W. 57th St., New York City Publishing Office, 750 N. Michigan Ave., Chicago, 111. 

The International Newa Company. Ltd.. Dlatrlbutlng Agents, 5 Bream's Building. London. Kngland 

James R. Quirk, President Robert M. Eastman, Vice-President Kathryn Doui;iiekty. Secretary and Treasurer 

Yearly Subscription: $2.50 in the United States, its dependencies. Mexico and Cuba: $3.00 Canada: $.3. .TO to foreicn countries. Remittances 

should be made by check, or postal or express money order. Caution— Do not subscribe through persons unknown to you. 

Entered as second-clasii matter April 24. 1912. at the Postodlce at Chicago. III., under the Act or March 3. 1879. 

Copyright. 1929. by the Photoput PnBLismNo Company. Chicago. 



As We Go to Press 



JOHN GILBERT will continue as a star 
for M.-G.-M. at one of the record salaries 
of Hollywood. It's said to be more than 
$15,000 per week. Gilbert's re-signed 
despite persistent rumors that he was going 
to shift to United Artists. Peace has been 
made and Gilbert, now at work on an 
African adventure yam, "Thirst," will 
continue at the Culver City studios. 

MAX REINHARDT, the famous German 
stage producer, is here, to direct 
Lillian Gish in an original story by Hugo von 
Hofmannsthal. Max goes to work imme- 
diately on the United Artists lot. 

"TTELL'S ANGELS," now in Millionaire 
-TXproducer Howard Hughes' third mil- 
lion, actually is nearing completion after two 
years. Hughes is reported to have pur- 
chased the screen rights to the successful 
Broadway newspaper play, "The Front 
Page," for $125,000. 



NILS ASTHER is that way about 
Mary Nolan. Their engage- 
ment was reported once before, 
when Nils first came over. Asther's 
trip to Sweden for the hoUdays was 
postponed because of an attack 
of flu. 

SANTA CLAUS brought a lot of 
things to Baclanova. First, she 
is being starred by Paramount, her 
initial vehicle being a 100 per cent 
talkie called "The Woman Who 
Needed Killing." Second, her di- 
vorce decree became final — and she 
is now free to wed Nicholas Sous- 
sanin. 

GARY COOPER has purchased a 
dude ranch in Montana. He'll 
spend his vacations there. Imagine 
Lupe Velez on a ranch ! 

BETTY BRONSON has been 
seen places with Theodore 
Young, a handsome South American 
millionaire. Since she rarely goes 
out unchaperoned, this looks se- 
rious. 

BELLE BENNETT is a grand- 
mother — almost. Her adopted 
son is the proud father of a baby boy. 

TOM MIX is at work on his last 
film for FBO. He then goes on a 
ten weeks vaudeville tour. 

JUST as Hollywood was whispering 
that Lily Damita's contract would 
not be renewed, Sam Goldwyn 
announced the signing of a new five- 
year arrangement. Sam still be- 
lieves in the silent drama. 

EVAVON BERNE reached 
Vienna in time to sign a starring 
contract for UFA at 1500 marks a 
week. Let's see, that's about $300 
a week, more than Hollywood paid 
her. 

THE gold coast main stem, Hol- 
lywood Boulevard, had 150 
electrically lighted Christmas trees 
for the holiday. Cost : $15,000. 

THEODORE ROBERTS, whom 
years ago Photoplay chris- 
tened the Duke of HoUywood and 
the Grand Old Man of the Films, 



Last Minute 

NEWS 

from 

East and West 



has passed on. He was a victim of the 
influenza epidemic which has been sweep- 
ing the coast. He had just finished 
his first talking picture. Roberts was a 
great actor and a splendid character. We 
shall miss him. 




POLA NEGRI has a new European pro- 
ducing company headed by Edwin 
Miles Fadman and Charles Jourjon. She 
will make two films a year and, it is said, 
United Artists wiU release her productions 
over here. 

RELEASED by Paramount, Dita Parlo is 
returning to Berlin. 

PLANS for the production of "Evange- 
line" go right ahead, despite Dolores del 
Rio's prostration at the death of her divorced 
husband. Director Edwin Carewe an- 
nounces that there will be no delays. Alec 
B. Francis has been cast for the role of 
Father Felician. 

AL JOLSON'S nejrt is to be called 
"Mammy." Julian Josephson, who 
used to do Charlie Ray's scripts, is writing 
the continuity and dialogue. 



WHAT'STHIS? "TheCommand 
to Love," reported to have 
been barred by Deacon Hays, is to 
be produced by WiUiam Fox. Barry 
Norton will play the young diplomat 
whose necking is all done for his 
coimtry's sake. 

CECIL DE MILLE has selected 
Carol Lombard for a leading role 
in his first M.-G.-M. film, "Dyna- 
mite." Miss Lombard is a graduate 
of the Mack Sennett forces. Conrad 
Nagel will have the chief male role. 

HAROLD LLOYD has selected 
Jean Arthur as leading woman 
in his new talking comedy, "TNT." 

THE holiday studio depression 
has settled upon HoUywood. 
The Warners Studio reopens after 
the New Year. 

INA CLAIRE starts work on her 
first Pathe talker, "The Infinite 
Variety," on Feb. 1. 

\KJJLLUM FOX has renewed 
V" his contract with June Colly er, 
who spent the holidays with her 
parents in New York. 

THE Warners have signed Betty 
Compson for the leading role in 
an all-talkie version of "The Time, 
The Place and The Girl." 

GARY COOPER is in the cast of 
Emil Jannings' new film, tem- 
porarily called, "A Tale of the 
Alps." 



P&A 



She tried to tell New York that she was 
Miss Alice Smith. But the photog- 
raphers knew better and snapped this 
picture of Greta Garbo just before she 
sailed for Sweden. Greta bought a one- 
way ticket and a non-return passport, 
which is one way of burning up her public 



N 



ANCY DREXEL has left the 
Fox forces to free lance. 



PHYLLIS HAVER has joined 
Metro-Goldwyn-Mayer, shifting 
from Pathe. 

HAVING completed Doug Fair- 
banks' "The Iron Mask," 
Director Allan Dwan is planning a 
vacation in Eiu'ope. 

BEBE DANIELS, having severed 
her long arrangement with 
Paramount, has not yet signed with 
anyone. "One thing is certain," 
she says, "I will do no more com- 
edies. It's drama for me in the 
future." 



Photoplay Magazine — Advkrtising Section 



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When you write to advertisers please mention PHOTOPLAY M.VGAZIXE. 




Brief Reviews of 

Current Pictures 



^Indicates that photoplay was named as one 
of the six best upon its month of review 



ADORATION — First National. — Concerning the 

post-revolution romance of a Romanofif prince and 
princess. Ornamented by Billie Dove. (Jan.) 

*AIR CIRCUS, THE— Fox.— Collegiate stuff in 
an aviation training school. Good. (November.) 

AIR LEGION, THE— FBC— Story about the 
air mail service that has nothing but a good idea to 
recommend it. (Dec.) 

AIR MAIL PILOT, THE— Superlative.— Another 
air mail story which breaks all the rules of aviation. 
(Dec.) 

ALIAS JIMMY VALENTINE— Metro-Goldwyn- 
Mayer. — The old favorite, revived with William 
Haines. Good. (Od.) 

AMAZING VAGABOND, THE- FBO.— Not so 
amazing. Just the usual stunts, on land and in the 
air. (Jan.) 

ANNAPOLIS — Pathe. — Pleasant romance and 
drama among the admirals of the future. (November.) 

AVALANCHE— Paramount.— High-class Western 
with Jack Holt and Baclanova — the picture thief! 
(Jatt.) 

AVENGING RIDER, THE— FBO. — Simple- 
minded Western mystery story. (Jan.) 

AWAKENING, TITE — United Artists. — First 
starring picture of Vilma Banky and Walter Byron. 
He's a nice looking lad. A "Marie-Odile" plot. 
iNovember.) 

BABY CYCLONE, THE — Metro-Goldwyn- 
Mayer. — All right, if you like Pekinese pups. 
(September.) 

BANTAM COWBOY, THE— FBO.— Only good 
because Buzz Barton is in it. (Oct.) 

*BARKER, THE— First National.- Human and 
humorous story of circus life. With Milton Sills. See 
it. (September.) 

BATTLE OF THE SEXES, THE— United Artists. 
— How a happy home is wrecked by a blonde. 
Sophisticated drama. (September.) 

BEAUTIFUL BUT DUMB— TifTany-Stahl.— 

Patsy Ruth Miller in gay comedy. (Oct.) 

BEGGARS OF LIFE— Paramount.— The low- 
down on hoboes. Good entertainment. And hear 
Wallace Beery sing a song I (Dec.) 

♦BELLAMY TRIAL, THE — Metro-Goldwyn- 
Mayer. — Tlie audience is admitted to the court room 
of the most thrilling murder mystery of the year. 
(August.) 

BEWARE OF BLONDES— Columbia.— Emerald, 
emerald, who's got the emerald? (November.) 

BIG HOP, THE— Buck Jones.— Mr. Jones crosses 
the Pacific. A good film. (Oct.) 

BIG KILLING, THE— Paramount.— Wallace 
Beery and Raymond Hatton become all tangled up 
in a Kentucky feud. (August.) 

BIT OF HEAVEN, A— Excellent.— Broadway vs. 
Park Avenue. A good performance by Lila Lee. (Oct.) 

BITTER SWEETS— Peerless.-Fun in the life of 

a girl detective. (Dec.) 

BLACK ACE, THE— Pathe.— So-so Western that 
will fill in a blank evening. (Jan.) 

BLACK BUTTERFLIES— Quality.— Exposing the 
wicked ways of thi.- fake Bohemians. (November.) 

BRANDED MAN, THE— Rayart.— The best 
part of tliis domestic opera is the titles. Why not do 
your reading at home? (August.) 

BROADWAY DADDIES — Columbia.— Trite 
story but well acted. (Oct.) 

BROKEN MASK, THE— Anchor.— Ugly story 
of revenge but well told and acted. (September.) 

BROTHERLY LOVE — Metro-GoIdw>-n-Mayer. 
— Messrs. Dane and Arthur in burlesque prison re- 
form. The big moment is a football game between 
two rival penitentiaries. (November.) 

BURNING BRIDGES — Pathe.— Better- than - 
usual Western, with that good hombre, Harry Carey, 
in a dual role. (Dec.) 

BURNING GOLD— Elbee.— A story of dirty 
deeds in the oil fields. (August.) 



BURNING THE WIND— Universal.— One of 
Hoot Gibson's lapses. (Oct.) 

BUSHRANGER,THE— Metro-Goldwyn-Mayer.— 
Tim McCoy goes to Australia and plays some rousing 
tunes, on the boomerang. (August.) 

BUTTER AND EGG MAN, THE— First Na- 
tional. — The amusing adventures of a country lad 
(Jack Mulhall) who becomes an "angel" on Broad- 
way. (August.) 

CAMERAMAN, THE— Metro-Goldwyn-Mayer. 
— Buster Keaton redeems himself in this one. Lots of 
laughs. (Oct.) 

CAPTAIN CARELESS— FBO.— You'll like Bob 
Steele. (Oct.) 

CAPTAIN SWAGGER— Pathe.— Good comedy 
in which Rod La Rocque, as a naughty aviator, is per- 
suasively reformed by Sue Carol. (November.) 

*CARDBOARD LOVER, THE— Metro-Gold wjn- 
Mayer. — Snappy Frencli farce comedy with Marion 
Davies — also Jetta Goudal and Nils Asther. Sophis- 
ticated and charming. (Oct.) 

CAUGHT IN THE FOG— Warners.— The plot 
gets lost in the fog, too. (August.) 



Pictu res You 
Should Not Miss 

"7tli Heaven" 
"The Singing Fool" 
"The Divine Lady" 

"Interference" 
"Mother Knows Best" 

"Street Angel" 

"The Patriot" 

"Four Devils" 

"Wings" 

"The Godless Girl" 

As a service to its readers, Photo- 
play Magazine presents brief critical 
comments on all photoplays of the 
preceding six months. By consulting 
this valuable guide, you can deter- 
mine at a glance whether or not your 
promised evening's entertainment is 
worth while. Photoplay's reviews 
have always been the most author- 
itative published. And its tabloid 
reviews show you accurately and con- 
cisely how to save your motion picture 
time and money. The month at the 
end of each review indicates the issue 
of Photoplay in which the original 
review appeared. 



CAVALIER, THE— Tiffany-Stahl.— Richard Tal- 
madge in some imitations of Douglas Fairbanks. 
Uaii.) 

CELEBRITY— Pathe.— A prize-fighter gets cul- 
ture. Meaning Mr. Tunney? (Oct.) 

CHARGE OF THE GAUCHOS — FBO.— How 
the Argentine Republic got that way. With Francis 
X. Bushman. (Dec) 

CHEYENNE— First National.— Ken Maynard in 
one particularly swell Western. (Dec.) 



CHICKEN A LA KING— Fox.— More lessons In 
gold-digping. Funny, but rough in spots. With 
Nancy Carroll and Ford Sterling. (August.) 

CIRCUS KID, THE— FBO.— You can sleep 
through it. (Dec.) 

CITY OF PURPLE DREAMS, THE — Rayart — 
Story of wheat pits of Chicago. Top heavy with 
drama. (Jan.) 

CLEARING THE TRAIL— Universal.— Again 

saving the old ranch. (Oct.) 

CLOUD DODGER. THE— Universal.— A battle 
in the air for a dizzy blondel (Oct.) 

CODE OF THE AIR— Bischoff.— More air stuff. 
Good adventure story. (Oct.) 

CODE OF THE SCARLET— First National.— 
Ken Maynard gets his man. Good out-door story. 
(September.) 

COME AND GET IT— FBO.— Contains, among 
other things, a good boxing match. (Dec.) 

COMPANIONATE MARRIAGE — Gotham.— 
Lots of propaganda. With such a live topic, this 
should have been a better picture. (Oct.) 

"COSSACKS, THE — Metro-Goldwyn-Mayer.— 
Love, sport and murder among the cowboys of 
Russia. Jack Gilbert is the lure. (August.) 

COURT-MARTIAL— Columbia.— Melodrama 
about the less civil aspects of the Civil War. (Dec.) 

COWBOY KID, THE— Fox.— A Western for the 
simple-minded. (September.) 

♦CRAIG'S WIFE— Pathe.— Splendid drama with 
Irene Rich as the too perfect wife. (September.) 

CRASH, THE — First National. — Not an under- 
world melodrama, but a swell thriller with a good per- 
formance by Milton Sills and a rousing train wreck. 
(November.) 

CROOKS CAN'T WIN— FBO;— Good celluloid 
gone haywire. Will someone please stop the film 
crime wave? (August.) 

DANGER STREET— FBO.— A rich bachelor, 
disappointed in love, drowns his grief in a gang war. 
Well, that's one way to forget. (November.) 

DAWN — Herbert Wilcox. — An English production 
that gives a fair and impartial presentation of the 
Edith Cavell case. (.August.) 

DEMON RIDER. THE— Davis.— Just a West- 
ern. (Dec.) 

DESERT BRIDE, THE — Columbia. — Betty 
Corapson, as a Parisian beauty, raises havoc in the 
Foreign Legion. (.August.) 

DEVIL'S TRADEMARK, THE— FBO.— Aggra- 
vating bunk. (September.) 

■►DIVINE LADY, THE — First National. — The old 
dirt about Lady Hamilton and Lord Nelson, told in 
romantic fashion. Pictorially beautiful, thanks to the 
lovely face of Corinne Griffith. (Dec.) 

DIVINE SINNER. THE— Rayart.— Austrian 
drama with daring but grown-up theme. (Oct.) 
DOGENTLEMENSNORE?- Roach-M.-G.-M.— 

A short farce turned into a panic by the appearance 
of a real, live -gorilla. (August.) 

*D0CKS of new YORK, THE— Paramount.— 
A drama of two derelicts, powerful, dramatic and 
stirring. Superbly acted by George Bancroft and 
Betty Compson. Worthwhile adult entertainment. 
(November.) 

DOG JUSTICE — FBO. — But the story is a cruel 
injustice to Ranger, the canine star. (August.) 

DOG LAW — FBO. — Giving Ranger a good break. 
(November.) 

DO YOUR DUTY— First National.— Charlie 
Murray plays his piece about the honest traffic cop 
and the crooks. Not so hot. (Dec.) 

DRIFTWOOD — Columbia.— Looks like a tenth 
carbon copy of "Sadie Thompson." (Jan.) 

*DRY MARTINI— Fox.— Sophisticated comedy 
among the American dry law ex-patriots of the RitJ 
bar in Paris-. Naughty but neat. (November.) 

DUGAN OF THE DUGOUTS— Anchor.— Gag- 
ging the Great War again. (September.) 
[ CONTINUED ON PAGE 14 ) 



Photoplay Magazine— Advertising Section 



CVLRYBODiy> 

FIRST ALL-Talking ^^WM 
FARCE'COAitDY/^ 1^ A 



i'- 





TALK// 



There's a thrill a minute in 
the action and a laugh every 
other second in the side- 
splitting dialog written by 
Frederick H. Brennan and 
Harlan Thompson! 

WILLIAM FOX, in this newest 
Movietone Feature, introduces a 
new technique on the screen 
... don't miss this all- 
talking farce comedy when 
it conies to your favorite 
motion picture theater! 



Qhe 
GHOST 
TALKS 

and so 
does the 
Screen 
in this 



latest^ 




MOVIETONE 




Directed in dialog by 



with 



Charles Eaton Helen TweIveD*ees Earle Fox Caniiel ITIyers 



*r~':}<y'^i^^m^^m-^-:^m^^'-:>:«' 



When you writ© to acKertisera please mention PHOTOPLAY MAOAZINK 



j^rickb 



Three prizes 

are given every month 

for the best letters'^ 

$25, $10 and $5 





Bouquets 

The REAL CRITICS, 

the FANS. 
GIVE THEIR VIEWS 



The Monthly Barometer 

npHE novelty of the "talkies" has worn off. 
-'■ Photoplay's readers are now asking for 
more than mere sound; they want the same 
standard of acting, photography, direction and 
settings that they have been getting in the 
silent movies. A large order for a new inven- 
tion! 

"Our Dancing Daughters" is the picture of 
the month. It is going big with the younger 
generation — and with the younger mothers 
who share their children's amusements. On 
the crest of its popularity, Joan Crawford 
becomes the most-discussed star of the month. 

According to letters received by Photoplay, 
John Gilbert, Nils Asther and Gary Cooper are 
the three kings of the hour, with Richard 
Arlen, "Buddy" Rogers and John Mack 
Brown running a close race. Among the girls, 
Clara Bow, Greta Garbo and Colleen Moore 
are the three queens. 

Brickbats for underworld melodramas! 
Enough is enough. And brickbats, too, for 
slapstick comedies and Westerns. But 
bouquets for romances, mystery stories and 
stories about modern young people. 

This is your department of criticism. What 
have you to say? 

$25.00 Letter 

New Orleans, La. 

I have lived most of my life in the rural 
districts of a state that is notably narrow- 
minded. As a youth, it was instilled in me 
that moving pictures were fundamentally bad, 
that I was endangering my immortal soul to 
attend such orgies of human indecency. So, 
of course, I reached my late 'teens with the 
utmost horror and distaste for such forms of 
amusement, distaste of something of which 
I knew nothing, e.xcept from people who knew 
really less than myself. 

I had the good fortune to make a trip out 
West and, without guardians or authorities to 
watch me, of course I decided to see one of 
those awful things called movies. So one night 
I screwed up my courage and timidly walked 
up to the window of a theater and asked for a 
"first row" ticket, thinking I was doing quite 
the high-brow, society thing, not realizing that 
the general admission gave me my choice of 
seats. 

The picture was "The Old Nest" and I shall 
never forget it. During that two hours of en- 
tertainment, I e-xperienced more emotion than 

10 



The readers of PHOTOPLAY are in- 
vited to write to this department — to 
register complaints or compliments — 
to tell just what they think of pictures 
and players. We suggest that you 
express your ideas as briefly as pos- 
sible and refrain from severe per- 
sonal criticism, remembering that the 
object of these columns is to exchange 
thoughts that may bring about better 
pictures and better acting. Be con- 
structive. We may not agree with the 
sentiments expressed, but we'll pub- 
lish them just the same ! Letters must 
not exceed 200 words and should 
bear the writer's full name and ad- 
dress. Anonymous letters go to the 
waste basket immediately. 



I had during all the previous years of my ex- 
istence, and I left that little theater sold to 
moving pictures. Since that day I have seen 
hundreds of pictures, some good and some bad, 
but I am still in love with them as the best 
means of expressing the emotions and dreams 
of the common folk of the world. I am beyond 
the influence of that country district in which 
I was reared and hence I do not hear the con- 
demnation that would be mine if I stUl resided 
there. I only wish that those good folks back 
there could have brought home to them the 
wonderful power of the motion picture. 

T. E. WiNBORN, Jr. 



,00 Letter 



Homestead, Pa. 

I wonder what some producers think of the 
movie-going public. Or do they think of them 
at all? And why in the name of all that is 
good, bad and indifferent does the old-fashioned 
girl have to be a dumbbell and the modern girl 
a damfool? I did not realize that the only dis- 
tinction between the antiquated and the 
modern was the length of hair, absence of dress, 
the puffing cigarette and the coming home with 
the milk man. 

I have always thought that a modernistic 
trend was dependent more upon progressive- 
ness, broadness of vision and a generous use of 
gray matter. But I have made the discovery, 
in the movies, that all of my youthful struggles 
and efforts to get a grip upon the ladder of life 
are in vain because — assuming the same dis- 



tinction is applied to the male sex — I am al- 
ready exiled to the antiques unless I become 
a gin-guzzling ninny. 

After a lot of pictures about so-called 
modern youths, is it any wonder "Our Dancing 
Daughters" is such a success. The girls are 
human; they have dreams, hopes and ideals. 
They give you something to think about. I 
felt as though I wanted to grasp the hand of 
Joan Crawford and say, "Well done, old girl. 
You are doing your best to give life a square 
deal." Joseph M. Rhodes. 

$5.00 Letter 

Enid, Okla. 

Photoplay is a gloom-chaser. Here's how! 

The scene was a desolate railway station, 
several miles from Nowhere. The atmosphere, 
inside and out, was damp and cold, as the Time 
was December 24, 1927. The characters were 
ten silent figures (ages ranging from eighteen to 
sixty-five), huddled around a wood stove, 
suddenly planted there because of the derail- 
ment of the train that was to take them home 
for Christmas. 

What would liven up this group, make them 
forget their little tragedy, and interest each of 
them? 

A college youth, with exploring eyes, spied a 
gaily decorated magazine beneath the strap of 
a travelling bag, and with eagerness brought to 
light Photoplay. He was soon showing the 
illustrations, calling forth comments on each 
favorite star, film criticisms, new develop- 
ments, etc. One teary-eyed young lady forgot 
herself to the extent that she entertained them 
by mimicking the famous stars. 

The air was full of vital, hiunan interest, for, 
truly, they had found a universal subject, in- 
teresting to everyone at all times. It saved the 
spirits and dispositions of the holidayers. 
Conversation is not a lost art when Photoplay 
is the subject. Jackie Dunning. 

Justice for Foreigners 

PhiUppine Islands. 
I cannot see why foreign players should not 
get their chance. The reason why the movies 
continue to import foreign talent is because 
they stand in need of something that they 
cannot find in Hollywood, to supply the pubhc 
demand for new types of faces and different 
methods of acting. 

Miss Trini De Perez. 
[ continued on page 94 ] 



Photoplay Magazine — Advertising Section 



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ments penetrate to the roots of your hair? How can 
ordinary tonics or salves remove the real cause of 
baldness? 

My treatment goes below the scalp, right down 
to the hair roots, awakening them to new action. 
My treatment works surely and quickly, all the 
while stimulating the tiny blood vessels around the 
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FRONT 

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TOP 



Most baldness begins here. 
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hack and MOREl 




TEMPLES 

Thinner and thinner on each side 
until tht-y meet and forelock too 
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Why Suffer Years of Regret? 

Before }ou turn this page take a 
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DANGER: One, two, thrct — BATJJt And 
perhaps total baldness, say lending dermatolo- 
yists, if you Hf elect any one of the three 
places shown above. But so (n'a dually does 
hair deimrt. so insidiously does baldness creep 
up on the averaKc man, thai thousjinds fail tn 
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When you write to advcrtisera please mention PHOTOPLAY MAOAZINB. 



12 



Photoplay Magazine — Advertising Section 




See a«c^ Hear. 

Vitaphones 

Supreme Dramatic Triumph 

DOLOIIES COSTELLO 

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«//M GEORGE OBRIEN 

Mightiest entertainment achieve- 
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Through Vitaphone, the foremost entertainers of the age 
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IF ITS NOT A WARNER. PICTU R.E...ITS NOT VITAPHONE 



Every advertisement In PHOTOPLAY MAGAZINE la guaranteed. 




WEETS 

for 

valentine's 
Day 

Two good recipes for 

cakes which will add 

a festive touch to your 

party 



THE recipe I have selected from Photoplay's Cook Book 
this month is an ideal dessert for Valentine luncheons 
or afternoon parties. 

It is a sweet strawberry cake and Sue Carol contributed the 
recipe to the Cook Book. 

If strawberries in February sound like an extravagance, 
you may substitute canned strawberries, which are often 
better than the early fresh berries. This recipe is noi a short- 
cake and it is not expensive to make. 

Take one cupful of sugar, sifted, and one large tablespoon 
of butter and cream together until smooth. Beat three eggs 
very light and add. Mix in ?| cup of milk. Then sift together 
two cups of flour — scant measurement — and a heaping table- 
spoon of baking powder, and add to the dough. Bake in deep 
tin plates or pie pans which have been buttered. This quantity 
will fill three or four plates. 

For the filling, mash three pints of strawberries with a cup of 
sugar and spread the fruit between the layers of the cake. To 
give the cake a Valentine appearance, save out some of the 



..^=^ 



Photoplay Magazine 

750 N. Michigan Ave., Chicago, 111. 
Please send me a copy of Photoplay's Cook 
Book, containing 150 favorite recipes of the stars. 
I am enclosing twenty-five cents. 




A girl with a heart — Leila Hyams dresses up as her 
idea of an old-fashioned Valentine 



largest and finest of the berries and cover the top of the cake 
with a meringue made of the white of an egg, beaten very stiff, 
mixed with a tablespoon of powdered sugar. 

Then arrange the berries in the outline of a heart on the 
meringue. 

Or, if you prefer, you may cover the cake with whipped 
cream, to which has been added a tablespoon of sugar. If you 
use the preserved berries, you may decorate the meringue with 
candied berries or red candy hearts. 

IF you want to serve individual cakes which may be made in 
heart-shape tins, you will find something different in Patsy 
Ruth Miller's recipe for Date Torte. 

Here is Miss Miller's contribution to the Photoplay Cook 
Book: 



2 eggs 

1}4 cup sugar 

3 tablespoons bread crumbs 



V^ teaspoon baking powder 
J^ package of dates 
1 cup nut meats 



Be sure to write name and address plainly. 
You may send either stamps or coin. 



Beat the eggs slightly and add the sugar sifted together with 
the baking powder. Stir in the bread crumbs, which should be 
dry and fine. Mix well. Add the dates, which have been 
stoned, and then the nut meats. Place in greased muffin tins 
and bake in a slow oven for thirty or forty minutes. Serve 
them with whipped cream. 

You will notice, of course, that for a sweet, this is not par- 
ticularly fattening, and the presence of the dates and nut 
meats gives this recipe good food value. 

Of course, you will find more delicious recipes for parties 
among the one hundred and fifty favorite dishes of the stars 
in Photoplay's Cook Book. .\nd you may have them all by 
filling out the coupon and sending twenty-five cents. You will 
find the book a valuable addition to your Cook Book shelf and 
a convenient friend to have in the house when you want to 
serve something distinctive and different for your friends. 

Carolyn Van Wyck. 

13 



Photoplay Magazine — Advertising Section 



l\ 



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You can obtain the next six numbers 
of Photoplay Magazine, delivered to 
you by the postman anywhere in the 
U. S. (Canada $1.50, Foreign $1.75.) 
This special offer is made as a trial sub- 
scription. Also it will avoid the old 
story of "Sold Out," if you happen to 
be a little late at the news-stand. Send 
postal order to Dept. lA. 



PHOTOPLAY MAGAZINE 

750 N. Michigan Ave- CHICAGO 



Brief Reviews of Current Pictures 

[ CONTINUED FROM PAGE 8 1 



DUTY'S REWARD— Elbee.— More cops, crooked 
politics, etc. {Dec.) 

END OF ST. PETERSBURG, THE— Sovkinc— 
What the Soviet wants >'0U to believe. St. Peters- 
burg destroyed by trick camera angles. (August,) 

EXCESS BAGGAGE— Metro-Goldwyn-Mayer.— 
Vivid and realistic picture of stage life. See it. 
(August.) 

FAMILY PICNIC, THE — Fox- Movietone.— 

Pioneer all-talking comedy. See it and write your 
own remedy. (September.) 

FANGS OF FATE— Pathe.— Klondike, the dog 
growls through an old story. (September.) 

FAZIL — Fox. — Proving the sheiks make bad 
husbands. Torrid necking in the desert. Not for 
the kindergarten class. (August.) 

FIGHTIN' REDHEAD, THE— FBO.— Buzz Bar- 
ton eats up the Western scenery. (September.) 

FIRST KISS, THE— Paramount.— Young love, 
played by Fay Wray and Gary Cooper and set in a 
deep sea background. (November.) 

FLEET'S IN, THE— Paramount.— Clara Bow 
among the sailors. Of course, you won't miss it. 
(November.) 

FLEETWING— Fox.— A story of Araby, a girl, 
a sheik and a horse. (September.) 

FORBIDDEN LOVE— Pathe.— English film 
brought to this country merely because it stars Lily 
Damita. ( Dec.) 

♦FORGOTTEN FACES— Paramount.— Under- 
world story of regeneration and sacrifice. Fine story, 
fine acting, and 100 per cent entertainment. (Sept.) 

*FOUR DEVILS— Fox.— Dramatic and beautifully 
presented story of Continental Circus life, with great 
performances by Janet Gaynor, Ctiarles Morton and 
Barry Norton. You'll want to see it. (Dec.) 

*FOURWALLS— Metro-Goldwyn-Mayer.— Story 
of Jewish gangster, splendidly played by John Gilbert. 
Don't miss it. (September.) 

FURY OF THE WILD— FBO.— More real meat 
for Ranger. (November.) 

GANG WAR— FBO.— Yep, bootleggers and crooks 
again. (September.) 

GATE CRASHER, THE— Universal.— Glenn Try- 
on in a hit-and-miss comedy. (September .) 

GEORGE BERNARD SHAW— Fox-Movietone.— 
Mr. Shaw entertains his public with an imitation of 
Mussolini. It's a wow. (September.) 



GERALDINE — Pathe. — Light and amusing com- 
edy with Marion Nixon and Eddie Quillan. (Jan.) 

GIRL HE DIDN'T BUY, THE— Peerless.— Light 
story of a Broadway love affair with an original twist 
to the plot. (August.) 

GIRL ON THE BARGE, THE— Universal.— A 

little slow but pleasant enough. Sally O'Neil wears 
her one expression. (Dec.) 



GOLDEN SHACKLES- 

see the picture for the plot. 



-Peerless. — You 
(August.) 



can't 



GRAIN OF DUST, THE— Tiffany-Stahl.— Inter- 
esting drama based on the David Graham Phillips 
novel, with the grief rather heavily stressed. (Nov.) 

GREASED LIGHTNING — Universal. — Dumb 
Western. (September.) 

GREEN GRASS WIDOWS— Tiffany-Stahl. — 

Walter Hagen in a goofy golf story. He should know 
better. (September.) 

GUARDIANS OF THE WILD— Universal.— 
Too bad that Rex, the wonder horse, can't write his 
own stories and put some horse-sense into them. 
(November.) 

GYPSY OF THE NORTH— Rayart.— A better 
than usual melodrama of the Northern mining 
camps. (August.) 

HALF A BRIDE— Paramount.— Wherein a bride 
is cast away on a desert island with the wrong man. 

(August.) 

HANGMAN'S HOUSE— Fox.— A good drama of 
Ireland, with some splendid backgrounds, a fine 
horse race and an excellent performance by Victor 
McLaglen. (August.) 

HAPPINESS AHEAD— First National.— What 
might have been merely tawdry melodrama is turned 
into fine entertainment by the splendid acting of 
Colleen Moore, Edmund Lowe and Lilyan Tash- 
man. (August.) 

HARVEST OF HATE, THE— Universal.— In 
which the great talents of Rex, the wild horse, are 
ignored to make footage for a trite romance. (Jan.) 

HAUNTED HOUSE, THE— First National.— 
Too much Chester Conklin and not enough mystery. 
(November.) 

HEAD MAN, THE— First National.— What 
happened in a small town when the Ladies' Auxiliary 
drank too much lemonade. (August.) 

HEAD OF THE FAMILY, THE— Gotham.— 
Rather cuckoo farce. (Jan.) 

[ CONTINUED ON PAGE 118 1 



Photoplays Reviewed in the Shadow Stage This Issue 

Save this magazine — Refer to the criticisms before you pic\ out 
your evenings entertainment. Ma\e this your reference list. 



Page 

A Lady of Chance— M.-G.-M 76 

A Man's Man— M.-G.-M 104 

Apache, The — Columbia 104 

Behind the German Lines — UFA-Para- 

mount 76 

Black Birds of Fiji — Australasian 76 

Blow for Blow — Universal 104 

Canary Murder Case, The — Paramount 54 

Captain Lash — Fo.x 56 

Case of Lena Smith, The — Paramount. 54 

Domestic Meddlers— Tiffany-Stahl 104 

Dream of Love — M.-G.-M 56 

Eva and the Grasshopper — UFA 103 

Flyin' Buckaroo, The — Pathe 103 

Flying Fleet, The— M.-G.-M 52 

Ghost Talks, The— Fox 56 

Gun Runner, The— Tiffany-Stahl 104 

House 6f Shame, The — Chesterfield. ... 76 

Huntingtower — Paramount 104 

In Old Arizona — Fox 52 

Iron Mask, The — United Artists 53 

Jazz Age, The— FBO 103 

Jeanne D'Arc — Societe Generale de 

Films 52 

Lady of the Pavements — United Artists 55 

Last Warning, The — Universal 76 

Linda — Mrs. Wallace Reid Production. 76 

Lion's Roar, The — Educational 56 

Lookout Girl, The— Quality 104 

Marquis Preferred — Paramount 76 



Page 
MataHari; The Red Dancer — Nation- 
al-Big Three Production 76 

Naughty Duchess, The — Tiffany-Stahl . 76 

Noisy Neighbors — Pathe 104 

Office Scandal, The— Pathe 104 

One Man Dog, The— FBO 103 

Pace That Kills, The— True Life 76 

Phipps— M.-G.-M 56 

Rainbow, The— Tiffany-Stahl 104 

Redskin — Paramount 55 

Restless Youth — Columbia 103 

Seven Footprints to Satan — First Na- 
tional 76 

Shady Lady, The— Pathe 55 

Shopworn Angel, The — Paramount. . . 103 

Silent Sentinel, The — Chesterfield 76 

Small Town Sinners — Hugo Brahn .... 104 

Somme, The — New Era 103 

Speed Classic, The — Excellent 103 

Stool Pigeon — Columbia 104 

Synthetic Sin — First National 55 

That Party in Person — Paramount. ... 56 

Three Week-ends — Paramount 55 

Tracked— FBO 76 

Tyrant of Red Gulch— FBO 76 

Uneasy Money — Fox-Europa 76 

Veiled Woman, The — Fox 76 

Wages of Conscience — Superlative 76 

What a Night — Paramount 76 

Wolf of Wall Street, The— Paramount . . 55 



Every advertisement In PHOTOrLAT MAGAZINE is guaranteed. 



Photoplay Magazine — Advertising Section 




A NEW HIT 

FOR THE XEW YEAR ! 



New York has a new thrill 



. You'll have it soon! 

THE 



Twice a day— every day— at S2.00 per seat, 
BARKER" is making film history. 

As one man twenty famous critics declared —"The picture 
ii.there!" . . . 

And since then Broadway's been a one-way street— all 
Manhattan headed for this First National Special from a 
famous stage-hit. 

'''Have your money ready" the day it plays your town! 



brcadwai^ sends you iff laiesi^loosensaMcn- 

ir[h<e l&y^lRIKIEIR 




SHE POSITIVELY 
DANCES TODAY! 

".And when she dances, folke. she 
DiakcB old men young and young 
mm old. She's ju&t one of the 
scores of big feature atlrarlions 
of the Carnival . . .You can't afford 
loiiniHS it. folks! — VOU CANT 
VFfORH T"i MI^S IT! ' 




In New York » In Los Angeles 

Every Paper — Every Critic 

joined in iiiis 

ALPHABET of ACCLAIM 



Marvelous job 

Nothingundoneorov- 
erdone 

One of the year's win- 
ners 

Pleasure to watch 

Quite credibly tougl 

Real thing 

Sizzling entertain- 
ment 

The picture is there! 

Uniformly high merit 

Vital 

Wholly intriguing 



Acting marvelous 

Best since "The Sea 
Hawk" 

Completely engros- 
sing 

Daring 

Excellent 

rine 

Gets" you 

House in uproars 

Intensely interesting 

Joy to behold 

Knockout cast 

Loud praises 




GEORGE FITZM.%VRICE Produolion 

From the play by Kenyan ?iichotion. Slage Pnxluc- 

lion by Chariei L Wagner. Adaplation by Benjamin 

Clazer. Presented by KiLhard A. RosKtand, 



She- 

hired another wo- 
man lo win the Love 
of the man she fear- 
ed! You'll gasp at 
the strange secret 
drama that seethes 
sinisterly behind 
the gaudy glamor of 
the Midway. "Be- 
hind -the-tent stuff 
is the intimate sort 
that 'gets' you," said 
Pi. y. Daily News. 



FIRST NATIONAL'S FIRST ^fef/Ai^PICTURE 

Evening World! 



Broadway" — said 




When you write to advertisers ricaso mention pnoTOPLAT MAGAZINE. 




Even the prettiest girl will 
look plain if she thinks of 
herself as an ugly duckling 
— and doesn't try to do any- 
thing about it. As witness 
Marion Nixon in "Geral- 
dine," before she learns to 
cultivate her good points 



Friendly 

Advice 

from 

Carolyn 

Van Wyck 

on 

Girls' 



Problems 




The result of the threeC's — 
clothes, care and cosmetics. 
And there is no reason, 
these days, why any girl 
can't have wavy hair and a 
good complexion. Being at- 
tractive, after all, is merely 
a matter of common sense 



DEAR CAROLYN VAN WYCK: 
I suppose a sensible person would say 
that I haven't any right to bother you! 
A sensible person would say that I haven't any 
problem at all. For I'm healthy, and I have a 
good brain, and I have a job (I'm a private 
secretary) that's above the average. 

But, oh, Carolyn Van Wyck — who expects 
a girl of twenty-one to be sensible? And I'm 
twenty-one — and, to me, my case seems seri- 
ous! 

You see, Miss Van Wyck, I'm plain. Not 
ugly, not the sort of a person to inspire con- 
tempt or distaste — just the sort of person who 
doesn't register! In an office crowded with 
eligible men, I pass unnoticed. I lunch by 
myself, I'm never escorted to my home — I'm 
never asked to go to a theater or a night club. 
Nobody even tries to kiss me in a dark corner. 
Perhaps none of the corners, in our office, are 
dark enough! 

My hair — it is nondescript in shade, and as 
straight as the proverbial stick. My eyes are 
not bad (they're my best feature) but the 
blue grey of them is spoiled by a sandy fringe of 
lashes. What if the lashes are thick? Nobody'd 
know, from their color, that I had any. My 
mouth — like my lashes — is too pale. And my 
skin adds to the generally drab effect. 

I don't know why my shoulders droop more 
than the shoulders of other girls — why my 
hps curve down instead of up. And I don't 
know what's wrong with my figure. Plenty 
of popular girls are as thin as I — and they're 
called slender, whereas I'm labeled "Skinny." 

Oh, I'm as unattractive as they come! 
That's my problem, Carolyn Van Wyck. And 
I'm lonely for the hfe and fun and romance 
that belong to a girl of my age. And my un- 
attractiveness is keeping the life and fun and 
romance away from me! I've never had a 
beau — not one. Probably when I'm forty-one 
I'll be telling the same story. 

I don't suppose you can help me. Miss Van 
Wyck. But if you only could ! 

Dora L. 

DORA, Dora! I wonder if you realize how 
much I — or any other sensible woman with 
a word of advice to offer — can help you? I 
wonder if you realize that it is the essentially 
sensible person who would most readily agree 
with you that you have a problem — and would 
help you to solve it! 

16 



For being attractive, these days, is a matter 
of common sense. It's foolish to be plain. 

I wish that you had been with me, a few 
nights ago, when I went to my favorite picture 
theater and saw there Marion Ni.xon in 
"Geraldine. " It's a picture that you ought to 
see, Dora; it might give you some ideas. For 
it tells the ugly duckling story in a new way. 
Geraldine isn't a pretty girl in the beginning of 
the picture — you can judge for yourself from 
the portrait that's printed on this page. But 
at the end of the story — well, we've printed a 
second picture! Look at that, and make your 
own decision ! 



How to Look Better 
Than You Really Are 

Is This Month's Problem 

HTHERE'S no girl, no matter how 
lovely she may be, who couldn't 
look better. Cleopatra would have 
been improved if she could have wan- 
dered through the mazes of a modern 
beauty shop — Helen of Troy would 
have thrilled to, and profited by, a 
cosmetic counter! 

Perhaps I can help you to look bet- 
ter. Perhaps the advice that I can give 
will put you a step farther on the ladder 
that reaches toward charm and social 
success. Doubtless you can work out 
your own problem — be it health, 
happiness or beauty. But remember, 
if you can not, that letters sent to me — • 
letters enclosing stamped envelopes — 
will be answered immediately. And 
that those without postage will be an- 
swered in the magazine, as soon as pub- 
lication dates permit. 

Complexion? Is your problerai a 
facial one? If so, send a stamped en- 
velope and you will receive informa- 
tion regarding the care of the skin. For 
ten cents you will receive miy booklet 
on safe and sane reducing methods. 
Write to me in care of PHOTOPLAY 
Magazine, 221 West 57th Street, New 
York. CAROLYN VAN WYCK. 



A marcel, a facial, a little carefully applied 
make-up. They have done a lot for Geraldine. 

Look at yourself in the mirror, Dora. And 
ask yourself what they can do for you! 

Your hair — for instance. It sounds like the 
sort of hair that a permanent wave would help 
mightily. And, incidentally, a good permanent 
tends to make the hair seem more colorful and 
alive — as well as much more curly. And your 
eyes — make the most of them by using mas- 
cara and an eyebrow pencil on those sandy, 
but luckily, thick lashes. You'll not have to 
look theatrical — lashes and brows can be 
darkened cleverly and naturally. The pale 
mouth will glow under the touch of a lipstick. 
Try the lipstick color on the back of your 
hand to get the tint that best blends with 
your skin. And, speaking of skin — how about 
a touch of rouge? Just a touch — for too pink 
cheeks are not smart nowadays. 

I can tell you, Dora, why your shoulders 
droop — why your mouth goes down. It's be- 
cause you have an inferiority complex. You 
know that you're clever — and yet you are 
ready to admit defeat in a game at which many 
far from clever girls excel. You're ready to 
say that you are a social failure — to tell the 
world that men have no interest in you. 

TT'S stupid — it's Victorian — to think that a 
-•-plain girl can not be made into a nearly pretty 
girl. Or — for that matter — into a more than 
pretty girl! A plain girl — if she has brains — if 
she will consider herself as an indi\'idual rather 
than as a member of an undesired group — can 
do wonders with herself. Indi\-iduality and 
personality can spell popularity in letters a 
foot high. They can go beyond beauty. 

Clothes, nowadays, are far from standard- 
ized. The stout girl can find styles that make 
her seem slender — the slim girl, even though 
she's as thin, Dora, as you are — can wear 
picture frocks that give curves where only 
angles have grown. Materials and colors make 
a vast difference, too. Remember that. 

I've never seen a girl in my life, Dora — 
(and my life is lived in a great city, in which 
there are all kinds and varieties of girls) — 
who couldn't be improved upon. And, usually, 
by simple things. By making use of the three 
little c's — ^clothes, care and cosmetics. The 
three little c's that — taken together — make the 
capital C that is called Charm. 

[ CONTINUED ON PAGE 92 ] 



Photoplay Magazine — Advertising Section 

WILLIAM HAINES in 

ALIAS JIMMY VALENTINE 

with. 

LIONEL BARRYMORE-KARL DANE -LEILA HYAMS 



A Jack Conway Production 

From the play by 

Paul Armstrong 

Adaptation by A. P. Younger 

Continuity by 

Sara Y. Mason 

Titles by Joe Farnham 



fiJ II 



17 



< 




JIMMY GETS 

THE THIRD DEGREE 



Slowly . . . silently . . . ominously . . . the great steel 
door swung shut, locking within that airless vault a 
helpless little child — the sister of the girl he loved. . . 

He had endured the third degree — could he stand 
that pitiful appeal? To "crack" the safe was a con- 
fession — not to, was — murder! What did "Jimmy 
Valentine" decide? 

It's an evening you'll remember all your life. A 
smash hit on Broadway at $2 admission . . . 

acclaimed the perfected dia- 
logue accompaniment. You'll 
have all the same thrills 
when your local theatre shows 
this record-breaking Metro- 
Goldwyn-Mayer film,' either 
silent or with dialogue. 



\ THE CONSPIRATORS 

WILLIAM HAINES-KARL DANE-TULLV MARSHALL 



o4 METRO-GOLD 

"More stars than there are in Heaven" 




-^*-•. 





WILLIAM HAINES WITH 
LOVELY LEILA HYAMS 

It's in our safe — $501 

Have you the right combination? 

Answer these simple questions 

and win the prize! 

Come all you safe-crackers with bright ideas! 
There's $50 and a valuable prize waiting for 
you in the M-G-M safe! The best set of answers 
to these five questions turns the trick. Read 
the rules below and send in your safe-cracking 
answers. 

To the man winning the contest, William 
Haines will give $50.00 and the electric flash 
lamp he uses in "Alias Jimmy Valentine". To 
the woman, Leila Hyams will send $50.00 and 
the beautiful handbag she carries in the same 
picture. The next fifty lucky ones will receive 
my favorite photograph specially autographed by 
Yours cordially 

1 — Name the six popular young players who 
appear in "Our Dancing Daughters." 

2 — Which do you prefer — Sound or Silent 
movies? Give your reasons within 75 words, 

3 — What popular murder story listed as a best 
seller novel and serial story last year has 
been made into a talking picture by M-G-M? 

4 — Name the Indian Chief in an M-G-M 
western who posed for the head on the 
Buffalo nickel. 

5 — Who is directing the first all Negro feature 
planned as an epic production of the col- 
ored race? 

Write your answers on one side of a single slieet of paper 
and mail to 3rd Floor, 1^40 Broadway, Neiv York. 
All answets must be received by Februar>' 15th. Winners* 
names will be published in a later issue of this magazine. 

Note: — If you do not attend the pictures yourself you 

may question yout friends or consult motion picture 

ma^aiines. In event of tics, each tying contestant will be 

awatdcd a prize identical in chatacter with that tied for. 

Winners of 

The William Haines Contest of October 

Mr. A. Humphrey Mrs. John Maloney 

Redwood City, California Racine, Wisconsin 

IVI AYER PICTURE 
It's Great vAth Dialogue or Silent! 



When jou m-lte to adverUscrs please mention PHOTOPLAY MAOAZINH. 



Photoplay Magazine — Advertisino Sec i ion 



JOHN BARRYMORE 

« 

CORNELIUS 
YANDERBILT, J R, 

• 

F. SCOTT 
flTZOERALD 




F. SCOTT FITZGERALD 

— because, as the most brilliant of America's 
younger novelists, he was the first to discover 
and portray an enchanting new type of American 
girl. Because, at the age of 23. he woke up to 
find himself famous as the author of "This Side 
of Paradise." Because no other man of his time 
writes so sympathetically, skilfully, and fascinat- 
ingly about women. 




JOHN BARRYMOKi: 

— because, being a member ot 
the most distinguished theatrical 
family in America, he has been 
associated with the most beau- 
tiful women in the arts. Because 
in his choice of motion picture 
heroines he has set a new — and 
different — standard of feminine 
loveliness. Because he is him- 
self the most romantic figure on 
the stage today. 



CORNELIUS VANDERBILT, JR. 

— because he is the fourth Cornelius Vander- 
bilt in one of America's oldest and most 
distinguished families. Because he has struck 
out for himself and achieved an independent 
career, and as a journalist is familiar with 
people everywhere. Because he has driven 
across America twenty-three times and his 
hobby is remote places and interesting types. 



'&s clioos& tko 




TWELVE MOST BEAUTIFUL W O M E IM 

iis'utcj ^^Woodmrfj (Jucicil ^odp 



Who are ther^'a/ Woodbury beau ties? 

Hundreds of women have written 
us every year that they owe the fine, 
clear beauty of their skin to faithful 
use of this famous complexion soap. 
But we longed to meet them face 
to face! 

So we called on them — in big cities, 
in little villages — we called on Wood- 
bury beauties in each of the forty- 
eight states. 

Even we were amazed, astonished 
at the hundreds of lovely, attractive 
faces we saw. We asked for their 
photographs that their loveliness 

Copyright 1929, by The Andrew Jenreoa Co. 



might be judged and published to 
the world! 

But when we came to choose from 
literally heaps of the charming por- 
traits they gave us we were bewil- 
dered. It was impossible to decide 
which were the loveliest. 

So we asked three distinguished 
American men, known for their deep 
appreciation and knowledge of beauty, 
to choose for us. We asked Cornelius 
Vanderbilt, Jr., John Barrymore, and 
F. Scott Fitzgerald to select from 
among all these Woodbury beauties 
the loveliest of each type. 



The judges are choosing. The twelve 
most beautiful Woodbury users will 
be published in a series— the loveliest 
debutante, the most radiant out-of- 
doors girl, the loveliest mother, the 
youngest grandmother — all will ap- 
pear in these pages. 

And all these beautiful women are 
keeping the fresh, clear texture of 
their skin by constant use of Wood- 
bury's Facial Soap. 

Watch for them each month. Who 
will be the first Woodbury beauty? 
She will be shown in March. 

The Andrew Jergens Company 



Erery advertisement In PHOTOPLAY MAGAZINE Is guaranteed. 




Autrey 




^^OME shifting style and changing personahties, Mary Astor, for 
^^ \ instance. Once she was an unsophisticated beauty and content 
\^_y merely to lend pictorial appeal to the screen. The men stars 
selected her for their leading woman, confident that no burst of fire- 
works from Mary would spoil their best scenes. Now Mary has 
acquired a livelier personality, and you will find her where the bullets 
fly thickest and fastest in "A Romance of the Underworld." Check 
up another victory for marriage. Since Mary married Kenneth Hawks, 
a smart young supervisor, her acting has taken on new interest 



S*BLS»*'7>' 




■^'■^iffl^f'^1 






,w^' 




\ 




'•¥^■ 



Ruth Harriet Louise 



C I HE talkies are making 'em and breaking em. The demand is for new voices, not new faces. 

/ Leila Hyams spoke her piece so prettily in "Alias Jimmy Valentine," that Metro-Goldwyn 

invited her to sign a contract. Leila was a far-seeing child when she selected the vaudeville 

team of Hyams and Mclntyre for her parents. As a youngster she played on the stage, just by 

way of helping MaEnma and Papa 




Lansins Brown 



CJ 1ERY rare photograph of Alice White. And why? Because, dear children, Alice is not posed 

1/ in her usual lingerie nor yet in her bathing suit. Alice is one of those girls whose gay cinematic 

doings keep the high-school boys and girls from concentrating on their geometry. Has she it? 

Yes, and also dem and dose. She's one of 'those flaming stars who upset the careful calculations of 

movie astronomers 




Richee 



^T /HOLLYWOOD'S hot spot. The Menace from Mexico. California's tropical storm. 

(yji Ask Gary Cooper. Lupe Velez is his leading woman in "The Wolf Song," and Gary 

never has been so interested in a picture. Lupe has had other crushes but, at the moment 

of leaping to press. This One Was Different. Anyway Gary, who might have. been broken-hearted 

when Evelyn Brent married Harry Edwards, has decided that life isn't so tough after all 




Kahle 



(TT^ /*0 microphonobia for Madge. While some of the more lofty stars are thinking of retiring 

j_/ V to little ivy -covered cottages in Mesopotamia or Forgetting It All in the South Sea Islands, 

X^_^ Madge Bellamy goes ahead serene in the confidence that she successfully passed her 

talkie test in "Mother Knows Best." Her next picture is "Exiles," and it will be what William de 

MiUe aptly calls a "chinema" 





Bull 



/^ lONEL BARRYMORE'S career is almost a history of movie acting. He was a member 

I of the old GrifBth-Biograph Company and the first stage player of standing to "disgrace" 

^^^_^ himself by acting for the camera. Mr. Barrymore enjoyed a brief stardom, slipped into 

character parts and then the talkies again raised him to prominence. Now he has been made a 

director and his first assignment is the dialogue version of "Madame X" 



Clke 

G<DXrAIR.IE) 




For women 
who strike the 
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avoirdupois . . .women 
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Gossard has created this new 
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it softly supports the bust . . . 
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Because the entire garment,even 
to the adjustable and detachable 
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natural figure curves, you will 
find new supported ease, new 
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you try it on. Design 3697, S5 



THE H. W. GOSSARD CO., Chicago, New York, San Francisco, Dallas, Atlanta, London, Toronto, Sydney, Buenoa Aires 

Division o/ Asiociated Apparel Industries, Inc. 



HOW HOIiI.Y\¥OOD^ 
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Greatest Groups 
of Fashion Experts — 

Every great Movie Studio . . . 
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Famous Dressmakers.. . Buyers 
for 1 12 great department stores 
— tell how they keep beautiful 
clothes like new Twice As Long. 





Million-Dollar- 

Wardrobe Test 

shuwii Lux most econom- 
ical! (Above) Wardrobe 
mistress and costume di- 
rector. "Lux saves clothes 
and monev," they find. 



Aileen Pringle in Hollywood's most expensive tjown — of thiffon tissue 
embroidered in crystals, viorn in "A Single Man." 



"WrOW Hollywood tells its very 
own secret of caring for lovely 
clothes! 

Tells how the beautiful fashions 
worn in big pictures are kept so 
bewitchingly fresh and so new look- 
ing, despite the hardest of wear! 

The movies made many tests of 
the different methods of cleansing 
— and they discovered this amaz- 
ing fact: 

"The original beauty of modern 
fabrics, whether fragile or of sub- 
stantial weave, can actually be Re- 
Newed again and again with Lux 
— and with Lux they last twice as 
long!" Now every great studio in 



Hollywood uses Lux — to double 
the life of beautiful clothes! 

And other leading fashion au- 
thorities — New York's gorgeous 
musical shows, the buyers for lead- 
ing department stores (92'.c of all 
interviewed), famous dressmakers 
— also find: 

"Lux keeps fine things, from chif- 
fons to woolens, beautifully new — 
twice as long!" 

Here is experience to help every 
woman! Using pure, bland Lux to 
cleanse all your own precious 
things you too, can keep them 
adorably new— much, much longer ! 
Lever Bros. Co., Cambridge, Mass. 



The National Guide to Motion Picture 



[TRADB mark! 




February, 1929 



Close-Ups and Long-Shots 



By James R. Quirk 



THERE is a very interesting 
article elsewhere in this issue 
which bears the significant title 
of "Going Hollywood." 

One phase of it was neglected. 
It seems that organizations and 
institutions can go Hollywood also — 
our favorite institution of higher 
learning, The Academy of Motion 
Picture Arts and Sciences, for instance. 
The Academy doesn't get much publicity, 
but no one can accuse Photoplay of neglecting 
it. We recognize it definitely as a grand idea. 
But, sad to say, a grand idea gone Hollywood. 

'\/"0U may or may not have heard the latest. 
■^ Now, dear friends, the august Academy, 
which may in years — let's say, a thousand 
years — rival the French Academy of Arts and 
Sciences, is very unhappy about the way 
motion picture publications are treating their 
dear ones. 

But, strangely enough, it wasn't until 
naughty words were said about the leaders of 
the Academy that they were driven to such a 
white heat of anger (in Hollywood it is called 
passion) that they are planning to start their 
own fan magazine for the purpose of TELLING 
THE TRUTH ABOUT MOTION PICTURE 
PEOPLE. 

Lordy, lordy. 

•T^HE talking pictures have already accom- 

■*- plished one stupendous and invaluable feat. 

They have completely smashed what is 




'temperament" in the 



drolly called 
studios. 

No longer can Fifi Fromage tear 
the set down and begin throwing the 
pieces at her director. In the micro- 
phone such a display of childish 
insanity would sound like the second 
battle of the Marne. 

Even such a gesture of annoyance 
as leg-slapping is out. One day at Paramount, 
while a talking scene was on, Clive Brook 
smacked his leg, and the resulting noise came 
over like the explosion of a Big Bertha. 

Whatever else the talkies have done, they 
have piped down the pettish and petulant. 

A CHARMING English novelist, named 
■^ ^-William J. Locke, is now plunging about 
the Hollywood jungles. 

A few days after he arrived in this country, 
Ray Long, editor of Cosmopolitan, gave a lunch 
in his honor at the Metropolitan Club. 

I sat across from Mr. Locke at the festive 
board, and I could not take my eyes from him. 
He is tall, and grey, and lean — a perfect portrait 
of a gentleman and a scholar. 

And, across the table, he looked so gentle and 
so wistful. I felt sorry for him. He seemed so 
ill fitted to be hurled into Hollywood. He 
looked tired. It was like tossing an untrained 
boy into a trench before he was well acquainted 
with the business end of a rifle and how soon 
to toss a hand grenade after pulling out the pin. 
He seemed temperamentally unprepared for the 
speed and brusqueness of American life. 

S7 



Now I think of Locke, grinding and perhaps being 
ground out there in the mills of the movies, which 
grind fast and exceeding small. If they understand 
him, and inspire him, and know what to do with his 
product after it is written, and convey to the screen 
the beauty and romance in his fine mind, I shall be 
grateful to Hollywood. Meanwhile, I watch and pray. 
A few days after arriving in Hollywood he wrote a 
charming little piece about the studios and the colony. 
I wonder what he'll write about Hollywood after he 
emerges from the marshes, a little greyer and a little 
leaner. Whatever it is, you may be assured that it will 
be civilized and charming. 

THE Singing Fool," Al Jolson's Vitaphone storm 
of sobs, had just ended its first showing at the 
Regal Theater in London. 

Twenty-five hundred people had not even blown 
their noses, wiped their eyes and reached for their hats 
when 400 pretty girls streamed down the aisles carrying 
champagne, sandwiches and cigars. 

A trailer flashed on the screen. "The management 
will be honored if you 
will remain and take 
wine with us," it said. 

Ah, these foreigners! 
Here in the Benighted 
States we don't even 
get dry hankies! I pass 
on this hunch to the 
Messrs. Warner as hot 
publicity. 



THE talking photo- 
play can be cen- 
sored. The Pennsyl- 
vania State Censors 
say so, and so it must 
be true. Censors are 
infallible. 

In 1915 The United 
States Supreme Court, 
in a war-time discus- 
sion, upheld the right 
of film censorship under 
certain conditions. 

Blue-noses at- 
tempted to jam censor- 
ship through 30 states, 
and they succeeded in 
seven. Thirty cities 
decree it by municipal 
action. The Shock 
Battalions of the 
Righteous have made 
seven crashing attacks 
on Congress in behalf 
of national censorship, 
and their riddled lines 
are ever re-forming for 
new assaults. 



AND now we face another attack upon the con- 
..stitutional Bill of Rights, already staggering and 
almost out on its feet. 

"Congress shall make no law abridging freedom of 
speech or of the press." 

There it is, standing gallantly but groggily in the face 
of a hundred bitter assaults. 

Let us hear what the Supreme Court has to say about 
the right of free speech from the screens of the Republic. 

The battle will be joined, and soon. 

YOU should see the Little Carnegie Playhouse, 
located in a hoity toity section of New York City. 
It has a card room where patrons may bridge and 
pinochle the happy hours away. There is a dance 
floor, with a radio always hitting on 12. There is a ping- 
pong arena for those hot blooded youths who go in 
for the more violent forms of manly sport and exercise. 
It is rumored that there is also an auditorium 
wherein the more artistic types of photoplays are ex- 
hibited. But I wouldn't know about that. I can't 
seem to get past the pinochle salon. 




A,' 



"It takes the patience of a lacemaker and the 
courage of a trans-Atlantic flier to become a 
successful Hollywood extra at this time. If you 
possess these qualities, and enough money to keep 
you for six months, try it out. You will find, at 
the end of that time, that you have changed your 
mind." — Florence Vidor, motion picture star 



BED time story 
.for tiny tots. 

Once upon a couple 
of times there were two 
British actors who 
didn't amount to a row 
of used razor blades. 
Packing their tooth- 
brushes and pinkspats, 
they emigrated to 
America to fight Red 
Indians and dig gold 
on Broadway. 

One was a Scotch 
comic named Ernest 
Torrence — the other a 
little cockney funny 
man called George K. 
Arthur. 

BOTH fell into the 
films and fortune. 
Not long ago they ad- 
dressed a great London 
audience, via Movie- 
tone, in a mighty 
English picture house. 

Rich and famous on 
America's golden coast, 
it was their first suc- 
cessful appearance in 
their homeland, and it 
was made on a shadow 
stage! 

In spite of our mod- 
ern over-civilization, 
Romance lives, and 
reigns ! 



&ft 




Co-Stars for Life 



HERE is the kiss that started the romance. You 
remember it, of course, in "The Sea Beast." And 
here is the scenario of the Dolores Costello-John 
Barrymore romance. 

In 1925, Barr>-more went to Hollywood. He was the great 
Hcimlet of the stage. 

Temperamental, hard-to-please, the youngest of the great 
Barr\'mores. 

No wonder the movie producers couldn't find a leading 
woman for this important personage. 

.\nd then he discovered his own leading woman — a fragile, 
sympathetic girl who was playing a "bit" in another picture. 
He didn't know then that she was Dolores Costello, daughter 
of Maurice Costello, who had been something of a John Barr_\- 
more himself in the early movies. 

A charming start for a romance. Although Dolores was a 
member of one of the First Families of the I"'ilms, her beginnings 
in Hollywood had been humble. She and her sister, Helene, 
had left the chorus of George White's "Scandals" to sign a 
contract with Warner Brothers. But she had failed to create 
any great furore in the studio. 

To be selected by Barrymore as his leading woman meant 
a short cut to success. 

But it wouldn't have been a real romance if all had gone well. 
Costello, pcre, resented Mr. Barrymore's attentions to his 
daughters. 

John, unfortunately, was married. Mrs. Costello approved. 
Result: a divorce in the Costello family. 

Still another divorce was needed to pave the way for the 



marriage. Last August, Michael Strange fooled the news- 
papers, Broadway, Hollywood and the rest of the world by 
filing suit in Kingston, N. Y., for a divorce. The papers were 
in behalf of Mrs. Blanche Blythe versus John Blythe. Mrs. 
Blythe was awarded the decree and the custody of a daughter, 
Diana Joan. 

Listen closely, because this is complicated. The former 
Mrs. Barrymore was Blanche Oelrichs Thomas, daughter of 
Charles M. Oelrichs of Newport and e.x-wife of Leonard 
Thomas. She writes under the name of Michael Strange. 

Barrymore is John Blythe, although the family hasn't used 
the name in two generations. No wonder the news sleuths 
were baffled. 

AND now for the wedding. It was a quiet affair at the 
bride's home in Beverly Hills. 

There were more reporters and photographers than guests. 

Brother Lionel was best man. Sister Helene was the 
bridesmaid. 

From the East, Ethel Barrymore sent her blessings and her 
verdict that Dolores is a "darling." 

From Cannes, France, Michael Strange, the ex-wife, wished 
the couple hafjpiness. 

The bride wore a wedding gown of cream lace over a 
bisque slip and at her shoulder, a diamond bar pin held a 
shower of lilies-of-t he-valley. 

What the bridegroom wore is not important. For the first 
time in the history of the theater, a Barrymore played a 
secondary role. 

29 





Jaime and Dolores del Rio lived 
in a world of romance and 
flowers. They had love; they 
had money. But Dolores wanted 
fame — and she achieved it. And 
then Jaime died, thousands of 
miles from his wife and his 
home. Another tragedy was 
checked up to "Going Holly- 
wood" 



THE day before he died in 
Berlin, Germany, Jaime del 
Rio, divorced husband of the 
beautiful, dark Dolores, asked 
to be buried with his wedding ring on. 

The young Mexican banker and 
sportsman was only thirty-three. He 
was sinking rapidly because of the blood 
poisoning that had set in following a slight 
operation for a boil. 

He was a foreigner in a strange land. He 
had only a few friends beside him: Father 
Moreno, the family priest of the del Rio's, 
who had come all the way from Spain; Paul 
Mooney, Fred Stein and Curtis Melnitz, 
personal friends, and the physician who sat 
with his quiet finger on Jaime's fluttering pulse. 
But Jaime was neither lonely nor afraid. 

Lying there, thousands of miles from home, in the 
valley of the shadow of death, he was closer to his 
beloved wife than he had ever been beneath the 
golden sun of Hollywood. 

Dolores' many cablegrams lay where his dimming 
eyes could see them. The next-to-the-last one said: 
"Darling, you must get well because of my love for 
you." But the one that came at the final moment 
was the briefest and most expressive of all. It 
whispered the only words that are ever truly im- 
portant to any man or woman, "I love you." 

And it may well be that dying, with a smile on his 
lips, was a much easier thing for Jaime del Rio than 
living with sorrow will be for Dolores. 

For if ever a girl paid the price of going Hollywood 
Dolores del Rio is paying it now. Do not misunder- 
stand. This is no attack against a heartbroken star. 

It is a little too much to ask that, when a girl, 
beautiful, young and vital, is shown all the kingdoms 




What Happens 
Garden of 



of the world that she should have the wisdom to 
withhold her hand from grasping them. The 
malady that attacked Dolores del Rio was 
simply that which attacks so many people of the 
film colony. It is the sickness of excessive, over- 
powering, devastating ambition. It is "going 
Hollywood." 

SINCE the world began men and women have 
sacrificed, have suffered, have endured all 
things for love. But in Hollywood love is a 
bauble to be retained as long as usable and then 
to be scrapped when it gets in the way of either 
ambition or pleasure. 

The case of Jaime and Dolores del Rio 
is a perfect example. 

I shall never forget meeting Dolores 

shortly after she first arrived in 

Hollywood. I expect I shall never 

again see anyone at once so 

beautiful, so vibrant, so young 



Mae Murray was queen of the 
studio. Her word was law; her 
wish was a command. But she 
forgot her old friends. Today, 
she is not in pictures. Vaudeville 
is her meal ticket 




A simple American lad 
and an exotic Polish 
actress — both victims of 
Phantasia Hollywoodii. 
Charles Ray wanted to 
be more than an actor. 
He wanted to be pro- 
ducer,directorandwriter. 
Pola Negri forgot to be 
an actress. She played 
her best scenes out of 
range of the camera. 
She was at the mercy of 
small whims and vani- 
ties. And so two talented 
persons were lost to the 
screen 



W^olhwood R 



By 
uthWaterbury 



to People in the 
Satisfaction 



and eager. Her skin was golden as honey in those 
days, her lips were pink carnations and her eyes were 
as soft and exquisite as a young doe's. 

Dolores, a young society woman, had been dis- 
covered in Mexico City by Edwin Carewe. Carewe 
had brought her to Hollywood. He told her she could 
become a great actress, a greater star. He painted 
before her deep brown eyes an iridescent future. He 
laid out before her the kingdoms of the world. 

THERE, at the beginning, Dolores was still the 
young' wife of a handsome Mexican society man. 
Mr. Carewe was simply her director. She clung to 
Jaime, her husband. She deferred to Jaime. And 
naturally Jaime, who adored Dolores, adored that. 

It is violating no secret now to say that, at first, 
Dolores was no particular hit. She was an inexpe- 
rienced beauty in a town where beauty is a common 
commodity. But Carewe handled her adroitly and 
Dolores worked and studied like fury. She made four 
ditTerent pictures without anyone knowing about it 
except the companies that paid her her salary. 

Then came "What Price Glory." Ah, marvelous, 
wonderful fortune to cast her for the most coveted 
part of the year! So Dolores must have thought. 
So any girl would have thought. So probably the 
worshipping Jaime thought. Yet that was the be- 





Mauritz Stiller, the great Swedish director, and 
Greta Garbo, his shy young discovery, arrive in this 
country. All that was back in 1925. Today Stiller 
is dead. He died a lonely, defeated, heart-broken 
man, an exile from the city that made Greta 
famous 



ginning of the del Rio tragedy. 
Hollywood. 



With that part Dolores started going 



MOST tragedies have their root in small, trivial misunderstandings. 
So it was with Dolores and Jaime. One day, during a tense, impor- 
tant scene, when the nerves of everyone were on edge, Jaime del Rio was 
asked to leave the set. Now Hollywood understands a situation like 
that. In the midst of work, anyone — even a near and dear relative — 
is merelv an outsider. Mothers, husbands, fathers and children may 
be ordered from the set, and no slight or rudeness is implied. 

But Jaime del Rio, the sensitive, aristocratic gentleman, didn't 
understand. To him, this everyday studio regulation was a cruel 
and sinister thrust. It meant that he was pushed out of Dolores' life — 
relegated to the role of being only her husband. 
I believe Dolores couldn't help going Holly- 
wood. I believe that no girl in the position that 
Dolores was placed in could have helped it. 
There was too much to resist. 
First of all, there was work. 
No one who had not lived in Hollywood has 
any conception of how the film people work. 
.\nd I mean work, plain unremitting toil for 
hours and hours on end. Except where most of 
us work with a Combination of the mental and 
physical, the players of Hollywood work with 
mind, body and emotions. 

The average .American works from nine to five 
and calls it a day. 

Corinne Griflith is often called the most 
independent star in the business because she 
insists upon quitting [CONTINUTED ON page 104) 



And Nazimova, 
one of the first 
great players to 
blaze across the 
screen. Her salary 
was enormous. 
Her popularity was 
unquestioned. She 
was an artist — 
until she "went 
Hollywood." To- 
day she is playing 
second fiddle to a 
lesser actress at a 
Fourteenth Street 
Theater in New 
York 



.-'7 




( ( 



omething About 

Myse/f 

A Life Story, to be vital, must 
deal with emotions" 



As told to Kathertne Albert 

by Nils Asther 



CHAPTER I. 

IT is a difficult task for me, Nils Asther, to tell the story of 
my life. 
I am not a pleasant person. I am not gay and amusing 
and social. I am ingrown, introspective, analytical. To 
speak of things that affect me deeply and to speak of them 
honestly is a burden. 

Tragedy plays a subtle, personal part in the drama of one's 
life. It should not be mentioned. One may chat with friends 
and speak many words that mean nothing, one may recount 




This photograph of Nils Asther was taken in his 
European home after he had made his first suc- 
cess in the movies. Yes, they have comic supple- 
ments in Sweden 



amusing or dramatic incidents in which the " I "plays the central 
figure, but a life story is more than a series of events. It is 
more than "and then I arrived in Germany" or "I left Guten- 
berg to go to Russia" — hke an illustrated travelogue. Places 
and time are inconsequential. 

A LIFE story, to be real and vital, must deal with emo- 
tions, and how does one speak of emotion? 

When I was married, my wife said to me, "Surely j'ou do not 
love me. I tell you twenty times each day that I am yours 
completely. I speak that my heart belongs only to you. And 
you are silent. You cannot say 'I love you.' Why do you not 
tell me these things?" 

I could not speak of these things, since love is a deep emotion 
and since, once the words were out, the emotion no longer 
belonged to me. Something had fled from me when I formed 
the syUables on my tongue. 

Yet these inner workings of the heart are more strange and 
vital than any chain of events, no matter how spectacular, that 
might occur in the life span of an entity. These make up the 
panorama of living and if I am to tell honestly what has hap- 
pened to me during the 27 years that I have been a part of this 
"discreditable episode on one of the minor planets" I must 
speak frankly, I must discuss what I have never discussed 
before. 

One question occurs to me again and again. One word, the 
ruling question of my life, "Why?" I ask myself a thousand 
times and I find no answer. 

When I was a child I was given a watch. My joy lay not 
in the bit of metal and glass that I held in my hand but in 
finding the inner mysteries of the strange, rhythmic, "tick- 
tick." I tore it apart and discovered bits of wire and tiny 
bolts that had no meaning and that were useless after they had 
been unchained from their prison. I could not put them all 
back into the case and the time-piece was ruined. 

And thus, after I have torn myself apart for analysis, I find 
that I know no more and am no better off than I was before 
and yet I continue to question, an incessant "why?" still rings 
in my ears. 

What manner of man am I? To what end am I living? 

I WAS born with this absorbing curiosity, but the introspec- 
tive and analytical tendencies came as a result of the events 
of my childhood. 

Again I repeat the difliculty of speaking of them. They were 
tragic to me. My dreams at night are still haunted by intan- 
gible, disturbing, muddled thoughts of those bitter days. Yet 
who am I to call them tragic? Who am I to say that I was un- 
happy when there are men who have been through wars, when 
there are women who have borne children and have lost them 
in death? 

Certainly there is no one capable of measuring the unhappi- 




'I am not a pleasant person. I am not gay and amusing and social. I am ingrown, introspective, 
analytical. To speak of things that affect me deeply is a burden" 



ness of another soul. I am happy when others would be most 
uncomfortable, tortured when others would be most happy. 
What to one nature may be a momentary annoyance is black 
despair to another. 

"There is no mystery so great as misery." 

When outwardly one appears the most gay there may be the 
lurking demon of doubt, the grim neurasthenia of the heart. 
Yet tragedy is of the mind. One's life is of the mind. The only 
realities are the unrealities. 

MY father was of the aristocratic house of Asther, high 
bourgeoisie. He owned lands and factories and newspapers 
in and around Malmo, Sweden, where I was born. He had been 
married to a beautiful society woman, who had borne him a son 
— a son who delighted him, a boy whom he could take to his 
heart. My half-brother filled my father's life as I, a sickly, 
melancholy lad, could never do. My father wanted to do the 
best thing for me. He wanted to give me the advantage of 
going into his business and becoming a respectable member of 
society. His lack of understanding was not from the heart, 
certainly. His intentions were of the best, but I still shudder, 
when I remember how my body trembled when I heard his step 
in the hall and knew that he would question me about the 
things I had done during the day. 

A stern. Continental parent 
he was, who could not under- 
stand my stupidities. IMy mother 
— ah, she was the soul of gentle- 
ness and sweetness. She was of 
a social station beneath m\- 
father, the daughter of a high 
school teacher, and the house 
became divided against itself. 

It was then that I became in- 
grown and bitter, so introspec- 
tive that in later years when I 
found myself again miserable 
and unhappy my closest friends, 
Augusta Lindberg and Djalmar 



Bergman, of whom I shall speak at length later on, did not 
dare to come to me and question me and offer their help. 

Vague, childish misery. My mother weeping alone in a great 
room. My heart torn with sorrow at the sight of her. The 
color of an autumn sky. The strange philosophies of books. 

My father kept us waiting at dinner time. He and my 
brother were always on their yachts and did not realize the 
flight of time. So my mother and I lived to ourselves and I was 
keenly aware of the distinction made between me and my 
brother. 

Christmas is supposedly a happy time. It is still like a night- 
mare to me. ]\Iy grandfather always arrived and gave my 
brother money amounting to the sum of ten dollars, perhaps.* 
Later in the day he would see me. I would be given five dollars. 
This was as it should have been; I was younger. But I was 
sensitive at the distinction. 

IW.\S not supposed to know the difference but, boy-like, my 
brother could not resist the temptation of saying, "See what 



my grandfather has given me. 
What did he give you?" 

And I could not answer, 
knife in mv heart. 



See how much money I have. 



T3ECAUSE he is one of the coming 
'-^ young men of the screen, Photoplay 
presents the Story of Nils Asther. It is 
honestly and seriously written. As Mr. 
Asther says, "A Life Story is more than 
a series of events. . . . The inner work- 
ings of the heart are more strange than 
any chain of events .... 1 must speak 
frankly, I must discuss what 1 have never 
discussed before." 



I could only feel the thrust of the 
Then I would find my mother and she 
would comfort me. 

I had no friends at school. I 
was always sickly and morose. 
I'm sure that I was an unattrac- 
tive little boy who did not invite 
companionship from the other 
students. The books I read 
were much too old for me, books 
of heavy psychological fiction 
and strange philosophical works. 
I'm sure I did not understand 
them, yet at the time they seemed 
to satisfy me. Immature as I 
was, the thought poems of those 
great minds must have seeped 

[continued on p.\ge 138 ] 

.J3 




rWO more twin profiles — Joan Crawford and Pauline Frederick. 
Will some bright producer please cast them together in a mother 
and daughter drama? What a picture that would be! Now for 
the statistics: Joan is one-half inch taller than Miss Frederick and a 
few pounds lighter. And — you may not believe it — there is twenty 

years difference in their ages 




^ Holy Racketeers 



Close- Ups and Flashes of the Motion Picture 
Censorial Mind in Action 



THE mighty mass of photoplay fans are un- 
acquainted, perhaps, with the little band of 
zealots who stand at the doors of the Capitol 
at Washington, year after year, demanding 
federal censorship of the motion picture. 

Meet them socially! Censors — fans! Fans, mitt 
the censors! 

Their leader is The Rev. William Sheafe Chase, 
D.D., an Episcopal cleric of Brooklyn, N. Y. He calls his in- 
finitesimal army The Federal Motion Picture Council inAmerica. 
The Canon mobilized his Heavenly shock troops in Wash- 
ington on Nov. 26, and I was privileged to sit in a safe dugout 
amid the rockets' pale pink glare and the bombs popping faintly 
in air. 

Here, then, is a series of flashes of the censorial type of mind 
in action. They are written in sorrow and not in anger. There 
is something infinitely pathetic, as well as ironically humorous, 
in the labors of these old guerillas who battle in and out of 
season to impose upon the many the will of the few. 

SCENE — the Garden Room of the sumptuous Mayflower 
Hotel in Washington, a large, rococo place that often is 
horrid with the tooting of such unholy classics as "Momma 
Loves Poppa," and the shuffle of dancing feet. 

On the platform, to the right of the presiding officer, sits the 
good Canon Chase himself — a grey little man in clerical duds, 
w ith a dispirited white moustache and a bald head that gleams. 

In the chair — The Rev. J. J. Claudy, Doctor of Divinity, an 
impressive looking gentleman of the cloth. 

Below, the faithful, comprising nothing less than the SLsth 
.\nnual Motion 
Picture Confer- 
ence under the 
auspices of The 
Federal Motion 
Picture Council in 
America, Inc. 

What a hoity- 
toity title for such 
a tiny flock! There 
c m't be more than 
forty of- the con- 
ferees, with a scant 
half dozen of the 
male gender. 

Something is 
terribly, tragically 
wrong with these 
holy shock troops. 
What can it be? 

Ah, I have it! 

They are com- 
pletely devoid of 
youth! Middle life 
— old age — hard, 
set faces and sus- 
picious, darting 
eyes. 

But not one 
shining face — not 
one young, hearty 
voice to speak out 
loud and strong in 
the name of those 
millions of happy 
>'oungsters of the 
republic who find 



By 

L,eonard 

Hall 



so much joy in the play world of the films. That's 
it. There isn't a grin in a carload of these holy 
racketeers. 

I am the youngest person present. But of course 
I am only an unregenerate reporter, and appro.x- 
imately as welcome as a guffawing hyena. 

Behind the active ringsiders, and clinging to the 
room's fringes, other ladies and gentlemen, out- 
numbering the mob. I suspect them. Most of them are 
lamentable spies. I recognize writers for the trade press — 
representatives of the great industry that is under the gunfire 
of the godly. 

We agents look at each other sidewise, and say "Sh!" 
They watch — they listen — they take notes. 
Now the conference that is to shake the world and save our 
youth is about to begin. 

The chairman clears his throat. The brethren and sistren 
perch on the edges of their chairs. 

THERE is a prayer, and a quavering hymn. 
The Rev. C. G.Twombly,D.D., arises in his place and comes 
to the rostrum. 

He is a handsome chap, and he carries an imposing sheaf 
of what is no doubt damning documentary evidence. 

I look at the printed program. His subject is "The Moving 
Picture Menace." 

It is evident at once that Dr. Twombly has a Wide Vision 
of Service. 

"Forty-five million children see movies every week," he 
announces. Then he berates his brethren of the cloth for not 

attending also, 
in order to keep 
close tab on the 
machinations of 
Satan in Celluloid. 
"Nothing is too 
bad for me to 
see!" he shouts. 

There is an ap- 
pro ving cluck- 
cluck-clucking 
from the sisters in 
the seats. 




"Wl'; 



Illustrated by 

Rollin Kirby 



And it sounds just like 
a one-man band, too. 



[AT are 
,e going 
to do to save our 
young peoiile from 
the evils of motion 
pictures? " he asks. 

No answer is 
forthcoming. Dr. 
Twombly plunges 
into the horrid de- 
tails of certain in- 
iquitous films 
before which he 
has sat in the per- 
formance of his 
high calling as 
guardian of .Amer- 
ican vouth. 

In'Mr. Griffith's 
" Battle of the 
Sexes" Miss Phyl- 

[ CONTINUED ON 

PAGE 136] 



^The Hot Baby 

of Hollywood 

otherwise Lupe Velez 



By K ath e 1- i n e Albert 



ONCE, when Lupe Velez was a child, she took the jewels 
from the altar in the house to twine in her hair. Con- 
sternation reigned when her parents discovered this. 
" My Lupe is full of pep," said her father. 
" My Lupe is full of hell," said her mother. 
Lupe is full of hell and fire and earth and storm and sea. She 
is breathless and exciting and young. As simple as a nursery 
rhyme, as vital as passion. 




She was born in a house not far from Mexico City where her 
father was a colonel in the army and secretary to the governor. 
It was a big house with many servants, whose chief duty 
seemed to be to sit on the roof and watch Lupe give imitations 
of the famous actresses of the day. 

The beds were ripped apart so that Lupe could stuff herself 

with pillows and drape herself with sheets. It was a one girl 

show. Lupe would have it no other way. The servants and 

her sisters were the audience. Lupe was 

the star. 

It was trying enough for the family to 
have the house thrown into disorder be- 
cause Lupe felt called upon to give 
amateur theatricals on the roof, but when 
she was eleven or twelve years old, other 
difficulties presented themselves. Even 
at that tender age Lupe had sex appeal 
and no race is as quick to recognize this 
quality as the Mexican. 

THE house was surrounded by boys of 
all ages, who whistled in various keys. 
For Lupe these young swains were simply 
a means to an end. She had an absorbing 
curiosity about motion picture stars and 
she discovered, young as she was, that 
her kisses were marketable. She would 
bestow a chaste salute on a masculine 
cheek in exchange for a picture of a star 
or a colored ribbon to wind in her dark 
braids. 

Thus men became to her tools to gain 
the things she wanted, and the house was 
besieged by them. Her more placid sis- 
ter, Josephine, became her messenger. 
She carried notes between Lupe and the 
boys, and Lupe's keen little ears soon 
learned the different whistles of her young 
lovers. Josephine was sent out to deliver 
the proper hU]cl doitx for each knight. 

During the short space of time that I 
talked to Lupe I developed a deep sym- 
pathy for her mother who, at last, decided 
that it was impossible to keep her in the 



Lupe Velez arrived in Hollywood 
with one dollar, a few words of 
English and a Mexican hairless dog. 
Oddly enough, she did not want to 
go in to pictures. "I knew that I was 
too ugly," she explains. The pro- 
ducers disagreed with her, and her 
success was one of the quickest on 
record 



Some high- 
spots in the life 
of Lupe, who 
captures the 
boys and gives 
the girls some- 
thing to talk 
about 



house any longer. Living with a cyclonic 
force must be harrowing, so Lupe and her 
messenger-sister, Josephine, were shipped 
away to a convent — Lady of the Lake — in 
San Antonio, Texas. 

HERE she met American girls who 
taught her — as much as Lupe can be 
taught — to sing American songs and to do 
the shimmy, the forerunner of the Charles- 
ton and the Black Bottom. 

As she had been a trial to her family, so 
she became a trial to the nuns. She ap- 
peared in school theatricals. She recited 
little verses about birds and bees and 
flowers and when there was only a mild 
ripple of applause, Lupe resorted to that 
quaint old army custom, technically known 
as the razzberry, to express her disap- 
proval. It threw the girls into hysterics, 
but the mild and gentle nuns, who did not 
understand it, let her go unscolded. 

And then came tragic news. The revo- 
lution flourished in Mexico. Her father 
was shot through the lungs! The girls 
must go home immediately. 

LUPE found herself on a train speeding 
back to her native land. Because she 
was the younger, she must sleep in the upper 
berth, her sister in the lower. This was 
not for Lupe. A calm, sane upper berth, 
when on up ahead was a large, pulsing, ex- 
citing locomotive! 

At the next stop Lupe left her own coach 
and climbed into the cab of the engine to 
discover a hard-boiled engineer who simply 
could not be bothered with Mexican girls. 

"He would not let me stay in the en- 
gine," said Lupe, "but I knew that I was 
to stay, so I just gave him dis . . ." 

"Dis" is a plaintive look with the eyes 
opened wide and the lips drawn into a 
provocative [ continued on page 141 ] 



Said the wife of an English novel- 
ist, "Oh, yes, my deah, Lupe Velez. 
A very noisy young person." But 
Hollywood likes her, because Holly- 
Wood likes anyone who is young, 
exciting, vital and interesting. 
And, in this, Hollywood is not so 
very different from your own home 
town 




37 



The Studi^^i 

My 



Illustrated 

by 

C. A. BRYSON 



By 
The EDINGTONS 



The Los Aiigclcs police department, lieadcd by Chief 
Detective Smith, is baffled by a startling murder. Divighl 
Hardell, one oj the leading players of the Superior Films 
Company, is found dead on Stage Six, following a hard 
night's work on close-ups alone under the direction of Franz 
Seibert, Superior's ace foreign director. A blood-stained 
rapier lays beside the body, still garbed in the costume of 
HardeU's last screen role. 

Investigation centers around four people. It develops that 
Hardell left the studio in Director Seibert's car at 12:17 
A . M. Hardell apparently found his ivay hack, through the 
studio's guarded gate, without being observed. In the studio 
at the time were Seibert's assistant, Billy West, and Yvonne 
Beaumont, a French actress. Both were on mysterious 
errands outside their studio work. Detective Smith's in- 
vestigation hints of another murder observer or participant — 
a mysterious woman. This may be Beth MacDougal, 
daughter of tlie studio gateman and, of course, MacDougal 
himself may be involved in the crime. 

As the hunt tightens, young West confesses to the crime 
and Miss Beaumont, who is in love with West, confesses that 
she came to the studio to recover some letters from the mur- 
dered man, Hardell. 

There is the mystery to date. HardeU's record is a bad 
one. He appears to have been a scoundrel in private as well 
as in his make-believe life. Women were his victims and it 
seems highly possible that the murder centers around a 
broken heart. 

Still — Go on with the story and, remember, that $3,000 in 
prizes go to the shrewd amateur detectives who beat the Los A ngcles 
police in solving this sensational crime. 




YVON 



"VONNE . . . stop!" 

'No, Billee! I will not stop! I..." 
Jut West turned to Smith, crying: 
"She's only trying to Save me! Don't listen to her! 
Go on . . . ask me questions . . . try to prove it ! I went on 
that set last night, and you'll find my fingerprints to prove it!" 
"Which reminds me. You have on rubber-heeled shoes. Just 
what I am looking for. Did you wear those shoes last night? " 
."Yes." 

Smith walked over to Rosenthal's desk. From the pile of 
papers — the time sheet, the tape from Lannigan's clock, and a 
few miscellaneous articles — he pulled a folded paper. Opening 
it, he revealed that it was smeared with rusty-red stain. 

"npAKE off your shoe, West," he said then. Awkwardly, 
JL flushing miserably because of his bound wrists, the 
prisoner bent to obey him. Yvonne went to him swiftly. 

"No . . . dear . . ." She stood back, and the sound of a 
sob came from her. Smith watched them both with cool indiffer- 
ence. When the shoe was off, he took it, and with his pen knife 
he dug out adeposit in the nail holes in the heel. This besmeared 
beside theother stain on the paper, and held it out for them to see. 
"Matches up, eh? A laboratory test will prove it. You must 
have stood by HardeU's body quite some time. West, to let his 
bloodget into your shoes like that . . . and to leave the remark- 

38 



ably clear trail across the floor," he said quietly. "I was going 
to question )'ou carefully as to your actions on the lot last night, 
but )'ou have saved me the trouble for the present . . . your 
confession, and this . . . rather," and he pointed to the paper. 
Yvonne put her hands to her face, and moaned: 
"Billee! Billee!" 

THE president of Superior Films stared at him in horror. 
"Have you anything to add to your confession?" said 
Smith addressing West. 

He drew the back of his hand across his forehead in a dazed 
way, before he answered. Once he opened his lips, as though 
to ask a question. But he did not. Finally he said: 

"No. That . . . is . . . all." 

Yvonne was pounding the back of a chair with tight clenched 
fists. 

"Oh . . . you are . . . crazee! Crazee ... all of you!" 
she sobbed furiously. 

Clancy, coming in, stood a moment, his cheeks puffed out in 
surprise, at this exhibition. Smith brought him sharply to 
attention. 

"Did you check up on Seibert's story?" 

"Sure, chief. His chauffeur says he came in all right like he 
said, and spoke to him. Says when he went up to bed, Seibert 
had his light on, and was sittin' by his window readin'. That 
was about an hour and a half . . . maybe two hours, later." 
Clancy stopped, and looked at West, and the handcuff's. 

"Didn't take you long, did it, chief?" he asked significantly, 
a grin spreading over his face. 




More confes- 
sions tangle 
this weird mys- 
tery of a Holly- 
wood Studio. 
Who is guilty? 
You can help 
find the mur- 
derer and win 
$3,000 



Yvonne Beaumont sud- 
denly faced the room. 
"Ladies . . . gentlemen . . . 
will you hear me? I have 
. . . sometheeng to tell 
you!" The beautiful girl 
looked bravely at her audi- 
ence. "First I tell you 
that I have had ze . . . 
what you say . . . affair 
wiz Mr. Harden ! I did not 
loff heem. I am ze flirt, 
oui. Pretty soon I am 
afraid! He make me scare. 
He say he will show some 
silly letters to my Billee! 
I am . . . wild . . . it ees 
zen that Yvonne becomes 
... a murderess!" 



"He has confessed," said Smith tersely. 

"Huh!" grunted Clancy. Even in his most sanguine 
moment, he had not hoped for such an easy capture. He stood, 
slowly sizing up the man in handcuffs. The victorious in- 
solence in his face made West long to get up and punch it. He 
made no effort to hide his desire, and Clancy, well trained in the 
meaning of such looks, deliberately fanned it into an outburst. 

" Huh! A boob amateur tryin' to put one over on a guy that 
stole his sweetie! " he sneered. West lurched at him, his hand- 
cuffed hands raised. If he thought Clancy was to be taken 
unawares, he was mistaken. The sergeant of police had turned 
his back squarely upon him, but now he wheeled on the instant, 
his fist swinging out unerringly. West was slammed into a 
chair back of him. 

"None of that stuff!" he hissed. "You're goin' with me, and 
you're goin' quiet ! " Wrapping a hand hardened to such prac- 
tice in the back of West's collar, he hauled him upright. 

" Listen, you damn murderer! Try that again and I'll smack 
your chin back so far you can use it for a collar button!" 

"/'^L.'\NCY!" The captain of detectives looked meaningly 
V.-'at his sergeant. 

" No little squirt of a crook can act up with me, and get away 
with it!" retorted Clancy belligerently. He turned back to 
West, and thrust his big paw down his collar. 

"Come on, you . . ." 

There was a flash of steel, and the boy's hands swung up and 
down. His eyes, suddenly a black blaze, leaped to Smith's. 

"Take these damn things off me, or I'll wreck the place!" he 



roared. "Pretty soft for you! Out here one day, and the best 
you can do is pick on a girl! Somebody tells you a lot of rot, 
and you start right in throwing dirt on her name! That's a hell 
of a way to catch a murderer! You knew damn well I'd confess 
to it! All right. I did. But that doesn't give you the right to 
put a filthy tub of guts like this over me! You take off these 
handcuffs, and you do it damn quick! I'll go to jail, but I'll go 
like a gentleman! I'll go when you send a man with a decent 
tongue in his head. . . ." 

"/'^LANCY, you can step over to the hospital and get the 
V— 'nurse to fi.x you up," said Captain of Detectives Smith 
at this point. Astonishingly speedy had been his seizure of his 
sergeant of police when West's manacled hands had swung 
down on his head. Astonishingly steely was the grip that 
kept the frothing Clancy from leaping at West's throat. There 
was an instant in which Clancy hesitated, his hands curled and 
quivering with the intent . . . and then he touched his cap, 
and stepped into the hall. . . . 

"Tell Ryan to come in," called Smith after him. 
"Ryan, this is Mr. West. Take him down and lock him up. 
There's no need to call attention to yourselves. Perhaps Mr. 
West will drive you in." 

"Right, sir," . . . and to West, ".Are you ready?" 
Yvonne, shrinking back in her [chair, looked out at him 
with eyes in which contempt and loathing burned. 

"You know he did not do eet!" she said in a low, tense 
voice. "You are a weecked ... a bad ... a terrible . . . 
man! God will puneesh you one day! I say eet!" 




/WENT to Beth MacDougal in the hospital," explained Detective 
Clancy. "The kid didn't know her father has confessed, see? She 
looks at me like a scared rabbit. Well, then I springs the dope about 
her dad to her. And, say, that kid never had a ghost of an idea her dad 
was goin' to confess to the murder! No siree! The kid was good and sick. 
'They'll hang my Daddy! They'll hang him!' she kept repeating. 'Oh, 
my God . . . what did I ever do it for?' " 



40 



$3,000 in Prizes for Detective Skill in 
Solving this Baffling Murder 



She looked, and spoke words, like a child, but her voice was 
rough with passion. Her eyes accused him in a way that 
threatened to break through his composure. 

"I do not kno-w anything about this case . . . yet . . ." said 
the detective. 

" Veil, I should tink it vould be all offer, vid poor West's con- 
fession! Ach, that boy! I cannot bclieff it!" Rosenthal sighed. 
.Surreptitiously he took out his voluminous handkerchief. Then 
quite frankly he wiped his eyes. 

CH.XPTER XI. 

THE coroner's inquest over the body of Dwight Hardell has 
gone down in newspaperdom as the tenth wonder of the 
world. The sob sisters who handled it were reduced to a state of 
imbecilic into.xication from sheer excitement. They found them- 
selves beggared of adjectives in the first round. Such a thing, as 
you probably know, seldom happens to sob sisters. The newsies 
for once did not have time to scream their extras. The papers 
were snatched away from them faster than they could hand 
them out. Black headlines fought with bursting columns on 
the front pages. We herewith reprint as follows: 

THREE CONFESS TO SLAYING OF ACTOR! 
All picturedom predicted to be involved in mysteri- 
ous crime. Was fiendish deed mob attack or smoke 
screen thrown up by motion picture magnate of Superior 
Films to conceal truth which is too frightful to reveal? 

And more. Head writers let space and type go 
to the devil, and strung their lines halfway down 
the front page. Sob sisters wallowed in exagger- 
ated exj^ressions, as follows: 

"What threatens to be the most sweeping ex- 
pose of picturedom, was begun today with the 
coroner's inquest over the body of Dwight 
Hardell. Startling enough in itself is the murder 
of the well-known actor . . . startling and fiend- 
ishly brutal!" 

"Lying stark and cold in the satin and laces of 
his period costume, his white wig not whiter than 
his dead face, his hand still grasping the glittering 
duelling weapon with which he tried to defend 
himself . . . that is the way Dwight Hardell was 
found yesterday morning by an office boy on the 
Superior Films lot! Mysterious and uncanny is the fact 
that he was lying in the exact position in which a dummy of 
himself had been arranged the night before, for a dissolve 
shot! Mysterious and uncanny is the collection of clues dis- 
covered by Captain of Detectives Smith . . . not one of which 
bears out another!" 

ST.XRTLING also, the confession of William West, an assist- 
ant directorof Superior Films, to the murder! His shoes were 
found to be the same which had made a bloody trail across the 
stage . . . but . . . the fingerprints which were found on the 
canvas door of the set were a woman's! A woman's voice also, 
that sent out the scream in dead of night, which night watch- 
man Lannigan took, and rightly, for a banshee . . . wailing the 
passing of the dead! A woman's hand who wrote the 'death 
note,' found in Hardell's room, that stated, ' I shall end every- 
thing between us . . . tonight!' The 'death note' was 
written by Yvonne Beaumont, a Superior Films star! The 
murder-confession was made by William West, known to be 
madly in love with the beautiful French actress . . . and from 
there the answer is simple. He confessed to shield her . . . but 
not so simple, after all, for an unknown woman enters into the 
case! The bloody fingerprints were not made by Miss Beau- 
mont! Who, then, is this second woman? The night 
gateman at Superior Films says he marked both Miss Beau- 
mont and Mr. West in on the night of the murder, but he denies 
admitting any other person except the murdered man and his 
director, Franz Seibert!" 




V./y.^'V***** 



Chief of Detectives Smith 
faced the police chief. 
"This is murder de luxe! 
It's the prettiest murder 
I ever saw! In some ways 
it looks like the work of a 
silly kid ... In some 
ways it looks like — the 
work of a fiend!" 



So man)' and so bewilder- 
ing are the mysterious angles 
of this crime that it is diffi- 
cult w'hich thread in the 
tangled maze to follow. 

Here is a stiff one for amateur sleuths. . . . "Dwight Hardell 
was marked out by the gateman at 12:17 ... he did not 
return . . . he was found dead on Stage Six the next morning. 
Are Lannigan and MacDougal, the watchman and gateman 
respectively, in a conspiracy to shield somebody, and is the 
time of Hardell's departure, as given by MacDougal . . . 
erroneous? And where does Franz Seibert come into this, for 
he also states he left the lot with Hardell at 12:17 A. M.!" 

"CTARTLING and bewildering enough are all these things, 
Obut it is predicted things more startling are yet to come, 
and that the history of some of the most famous people in 
pictures will be made public before the truth of this strange 
crime is uncovered!" 

"It is common gossip that Seibert is working with .Abraham 
Rosenthal to cover up the actual truth of the case, and that 
every attempt is being made to mxstify the police and the 
public, in order that their minds [ continued o.\ page 78 ] 



Complete Rules for Studio Murder Mystery on Page 78 



What AreYoUR 
Correct Colors? 



"DEGINNING with this issue, Photoplay will have four covers 
^thal will also be color charts jor the jour different types of 
feminine beauty: brunette, blonde, red-haired and brown-haired. 
Each month there will be a color analysis for the various types. 
Miss Latirene Hempstead, who will write these articles, is an 
expert in color and a member ofthestaJfofWouEN's Wear Daily, 
an authoritative New York fashion publication. 

Beauty experts say that American women too often sacrifice their 
own beauty to follow an arbitrary fashion in color. The best 
designers, too, are trying to make women choose colors to conform 
with their own coloring, not a fashion whim. These articles, with 
the covers, will help you immeasurably in adding to your own 
good looks, through the correct use of color. 



I 



LIKE you in black," said the gallant and discerning 
young man. "It makes you stand out." 

The you was a blonde with a fair skin and light yellow 
hair. She wore a lustrous black velvet gown which made 





BEFORE you select 
the colors for your 
costume, first find the 
colors for your make-up. 
To do this, you must 
make an impartial study 
of the actual pigmenta- 
tion of your skin. Are 
your lips and cheeks 
red-orange or red-violet? 
If you are a brunette, 
you probably have the 
warm coloring. There- 
fore, select a rouge and 
lipstick containing 
orange that will increase 
the color without alter- 
ing it. If you are a 
blonde, select a red- 
violet make-up. In 
choosing powder, match 
the natural skin areas of 
your forehead and neck. 
You will probably need 
two different sets of 
make-up — one for your 
summer tan and one for 
your paler winter com- 
plexion. Read this ar- 
ticle and learn how to 
make the most of your 
skin. 



her skin seem a pearly white, with undertones of warm rose 
beneath. A dull, flat black would have made this same fragile 
complexion seem pale and uninteresting. In contrast to the 
black, her hair was a shining living gold; yet this same hair 
might have seemed faded, dingy and characterless if its owner 
had doomed it to insignificance by wearing a vivid yellow or 
orange. 

EVERY girl, every woman, holds it in her power to make her 
best features more evident, to make undesirable traits 
less conspicuous, by wise selection of colors used in her 
costumes. Her home, which should be the background, the 
setting for her personality, may also be made more effective, 
more inviting, and even more comfortable, by means of wisely 
chosen colors. 

Women are realizing more and more that, by surrounding 
themselves with harmonious colors, they may achieve greater 
happiness and comfort. Color has entered the kitchen and the 
bathroom — two rooms formerly doomed to remain white. 
There is color, too, in sheets, table-linen and all the accessories 
of the household. For color has a decided effect upon the 
emotions. It is as powerful a force as music, and its use is more 
extended for one ma)' always be surrounded by color, at any 
time and in any place. 

Psychologists have found that each color affects the emotions 
in a different manner. You are not the same individual in a 
blue dress that you are in a red one. You not only feel differ- 
ently, but you act differently. And oh, how different you look 
to your friends! Not only will your appearance be changed, 
but the emotions of those who see you will be affected by the 
color you wear. 

No two persons react in exactly the same way to color. One 
may like green because the girl he loves looks well in it ; another 
may abhor it because a disliked and feared maiden aunt habit- 
ually wears it. According to scientific experiments, most 
humans react most pleasantly to blue and to red. Men, con- 
trary to general belief, show slightly greater preference for 
blue than for red; while most women choose red first, blue 
being less favored. 

IN selecting your correct color, remember that your face 
should be the center of interest, the most important considera- 
tion in the composition created by the costume and the wearer. 
The costume should be the background and, rather than think- 
ing first about the costume, one's attention should be focused 
on the individual herself, upon her face, which best expresses 
her personality. The costume should increase the attractiveness 
of one's own coloring, and not introduce powerful colors which 
overwhelm those of the individual. 

Naturally you will wish to select colors for your costume 
and your home that will make your skin clearer, make your 
eves seem deeper, larger and more expressive, and bring out all 
the color and lustre of your hair. To do this, you must make a 
careful study of the actual pigmentation of your skin, hair 
and eyes. Most women classify themselves as blondes, bru- 
nettes, redheads or "in-betweens," without taking the trouble 
to analyze their actual coloring. 

So let us first consider the skin: The actual pigmentation 
of the skin, such as found in the neck or the forehead, is not 
white, neither is it pink. It is really orange in tone, a pale, 
light orange, much less bright than the fruit from which it takes 
its name, but clearly of the same hue. Its tone varies greatly 
in individuals, ranging from a yellow to a red orange. 

The flesh tones found in lips and cheeks also vary decidedly. 
They are seldom pure red, as they are usually described, but 



42- 



By 

Laurene 
Hempstead 

How you 
may become 
happier and 
more attrac- 
tive, by ana- 
lyzing your 
coloring and 
finding your 
proper har- 
monies 




xi.v>8 



either red-orange or red-violet. 
Most so-called brunettes possess 
the warm, or red-orange, coloring. 
Blondes have cooler red-violet col- 
oring. 

The coloring of the individual 
also changes according to health 
and the seasons of the year. 
Therefore a color which is becoming during the winter or early 
spring months may be decidedly unsuitable in the summer 
when the skin is tanned. Bear this in mind! Don't go through 
life wearing pale blue because you looked well in it when you 
were a child, or pale orchid because it went well with your 
winter pallor. 

Before you choose the color of your costume, you must find 
a suitable make-up. The object of rouge and lipstick is, not to 
change the natural color, but to increase it without altering its 
tone. Thus if you have a red-violet coloring, a vivid orange 
rouge will not only fairly shriek its presence but will give you a 
harsh, hard look and usually clash with the color of your hair 
and eyes. 

Powder should always match the natural background of the 
skin, which may be found on the neck and forehead. Remember 
that powder is not designed to change the natural color, but to 
give a soft velvety finish and to remove shine and other im- 
perfections. 

Now for the selection of color for your clothes: Here, briefly 
are some important points to remember: 

COLORS may change the face by two methods; that of 
reflection and that of contrast. A red tone may reflect red 
light, or it may cause to appear an entirely opposite color, 
known as a complementary color. 

If the fabric of your dress has a shiny surface, or if your skin 
is smooth and clear, reflection will occur. If the fabric is an 
intensely vivid color, it courts the complementary shadows. 
There is a scientific reason for this. Intense colors fatigue 



If you are a brunette, save Photoplay's cover as a color chart for selecting 
your clothes. And save this Iceyed chart as a guide to the colors. 1. Softened, 
slightly neutralized yellow-orange. 2. Dark, slightly neutralized red-orange. 
3. Light value of soft red-orange. 4. Grayed green with slightly yellow-green 
tinge. 5. Softened orange of medium value. 6. Red with only a tinge of 
orange. 7 Dark, slightly grayed green. 8. Pale tint of red orange. 9. Bright 
red orange. 10. Red, very slightly softened 



the observer's eye, causing it to see a directly opposite color 
on the adjoining surface. Furthermore, intense colors decrease 
the color in the face because they subdue the delicate flesh tints 
by their own greater strength. 

P.\RTL\LLY neutralized colors are therefore more becoming, 
more easily worn, than full intense ones. Not one out of ten 
women should wear large areas of intense color, and probably 
not one out of a hundred looks as well in them as in colors of 
softer, less vivid, character. 

The average woman would do well to avoid both the very 
brilliant and the completely neutral. Grays, neutral tans and 
beiges are particularly trying to persons who have become gray 
or whose coloring has been dimmed by ill-health or age. Warm 
rosy beiges, rosy grays or grays with a definitely blue cast are 
more becoming because they give an appearance of life and 
vitality to the skin. 

Those with neutral coloring who attempt vivid reds to give 
color to their appearance, defeat their own purpose. They 
make the pale person seem entirely colorless. Estelle Taylor, 
whose portrait is on the color chart for this month, is one of the 
fortunate women who can wear brilliant reds. She has a force- 
ful personalit.\-, a clear skin and vivid coloring. 

Extremely dark colors absorb color from surrounding sur- 
faces. If your coloring is too vivid, if you are inclined to be 
florid, black or dark colors will subdue and clarify your skin. 
Black velvet, because of its flattering lustre, not only brings 
out the whiteness of your comple.xion but does not absorb the 
personal coloring. [ continued on page 81 ] 

J^3 



"It seems that it appealed to 
Jack's peculiar sense of humor to 
take Effie around and introduce 
her to everyone, whispering the 
news that she was the daughter of 
a Scotch toffee king, whose father 
was just aching to spend a million 
pounds to put her in the movies. 
No wonder she was popular!" 



By 

Agnes 
Christine 
Johnston 



Illustrated by 

R. Van Buren 





oliteS^'Mjn 



YOU'LL probably say I'm all hay-wire, but I tell you 
the politest man in Hollywood is Jack. Arden." Ann 
Sutherland tossed her pretty blonde bob and smiled 
at the incredulity that greeted her statement. As 
usual, everybody stopped to listen to Ann. She was one of the 
few women, clever enough to be both a wife and mother, and 
at the same time gain entree into the most exclusive circles in 
Filmdom — all on a press agent's salary. 

It was the hour when most Hollywood discussions take place 
— the uncertain interlude between the time when guests are 
invited to a dinner party and the time the last one really arrives. 
Cocktails — candle-light, the hostess, cool and gracious, knowing 
her wise cook will not put the filets on to broil until a quarter of 
nine at the earliest; the guests wandering in, one by one, with 
plenty of space between introductions for talk. 

Prince Parmenati had started the argument by affirming that 
American men were completely devoid of gallantry and he had 
been backed up by the foreign contingent, ever present, these 
days, at all elite social functions. The Americans in the room, 
subconsciously resenting the foreign invasion anyway, because 
it touched their pocket-books, were a little abashed and ill at 

u 



ease in combating the Prince's monocled self-assertiveness. .\ 
tinge of ill-humor was creeping into the sallies on both sides, 
when Ann's remark, as Ann's remarks have a habit of doing, 
exploded the strain in a burst of laughter. 

"Why Ann, you goose!" exclained Margalo Thompson, the 
hostess, "Jack Arden's the rudest man in Hollywood, or any- 
where else for that matter. Just because he's a big star, he 
seems to think he doesn't have to bother about being polite. 
You know he never remembers anybody's name or whether 
he's been introduced to you before. He never arrives any- 
where on time or even arrives at all, if he doesn't feel like it. 
Why he was due here tonight and I was about to order his 
favorite dessert, when I happened to read in Louella Parson's 
column that he'd gone to Lake Tahoe on location. There'd 
have been thirteen at the table if the Prince hadn't so kindly 
come to our rescue." She flashed a smile at the foreigner, who 
bowed gracefully. 

"Nevertheless," affirmed Ann, "Jack is responsible for the 
most perfect act of politeness I've heard of for many a moon." 

"And who told you this, my pretty one?" asked the Prince. 

"Effie, my nursemaid." 




In wh ic h a 

Scotch Cinder- 
ella buys her 
ticket to the 
ball. A differ- 
ent sort of off- 
screen ro- 
mance — told 
by a woman 
who knows 
her movies 



ollywood 



There was another roar of laughter and the men exchanged 
glances. 

"Oh no, it's not what you think," put in Ann quickly. "If 
you could have seen Eflie with her prim little Scotch face, you'd 
know Jack Arden would never have looked at her twice or even 
half a time, if she hadn't — " Ann paused and looked around 
provocatively. 

"/'"^ O on, Ann," said Margalo. "Don't be so tight. You've 
VJgot us all worked up and I know dinner won't be ready 
for half an hour." 

This was a lie, for it was already nine o'clock, but King Vidor 
and Eleanor Boardman had not yet arrived and Margalo saw 
a chance to bridge a hungry wait. 

"Well," said Ann, "Effie was one of the thousand and one 
movie struck girls who descend on Hollywood each year. But 
with a difference. She did not want to go into pictures. Some- 
how that keen little Scotch brain of hers realized that her plain 
face, pale gray eyes, and too plump figure, that could never 
resist American cream and butter long enough to reduce, were 
not even extra material. 



" It was enough for her to be in the same city, tread the same 
sidewalks, breathe the same air as her idols. She could hav^e 
made twice the salary with a millionaire's family in Pasadena, 
but she took the job with us just because, when I was interview- 
ing her, cook brought me a message to see Conrad Nagel about 
some work at the studio. 

"You may remember how I used to boast that I had found 
the perfect nursemaid. Besides taking such good care of the 
children, Effie was always ready to help with the other work and 
when I entertained anyone connected with pictures, she begged 
me to let her wait on the table. She wouldn't let me pay her 
extra for it, either, and once when I protested, because she'd 
been up late with the baby the night before, she declared 
vehemently, 

" 'Oh, Ma'am, I wouldn't miss it for anything. It's a pleas- 
ure to wait on such people — coming so close to them as I do 
when I pass the vegetables.' 

"When I think how much pictures meant to Efl5e, it makes 
me realize that there's something in them that's bigger than 
any of us. She had worked her way over from Scotland. Then 
all the way across the United States, [ continued on page 108 ] 

\J^5 




bssip of AW 



ByCzl 



Stealing another style from the boys — 
Josephine Dunn wears a hat copied from a 
football head-guard. It can be worn for 
football games, aviation or very brisk 
motoring. One of the inevitable results of 
California's season on the gridiron 



The loves of Hollywood are nice. 
They rush from ice to fire to ice. 
In fact, they turn so soon to rubble 
They do not seem quite worth the trouble. 

THE marriage of Evelyn Brent and Harry Edwards has 
caused a ripple of comment on Hollywood's untroubled seas. 
It was sudden. It was unexpected. Nobody, except one dear 
friend, had an inkling that it was to take place. Evelyn tried 
to keep it quiet. 

Everybody thought that Evelyn Brent and Gary Cooper 
were going to be married, in spite of the fact that Evelyn stoutly 
denied a rumored engagement. 

The fact remains that she looks radiantly happy, and Mr. 
Edwards isn't pulling a long face. 

FOR the first time in her short sojourn in Hollywood it seems 
that Lupe Velez has fallen in love. Oh, there have been 
many men in her life so far, men who have taken her places and 
sent her flowers but now it appears that Gary Cooper is the 
heavy flame. 

Gary is just a poor boy trying to get along. He's the young- 
est one of the men with whom Lupe has gone and certainly he 
is unable to send her orchids three times a day, which leads 
Hollywood to believe that it's the Real Thing. 

nPRAGEDY among the premiere-goers of Hollywood. 
Also proof that not every luxurious limousine is paid for. 
Many times the title is held by a finance company. 

Therefore, one cannot blame the elegantly costumed 
starter in front of the great theater who bellowed forth at 
the last premiere: 

"Car belonging to — to the Pacific Finance Company!" 

■4& 




And still another 
reason why sports 
are popular: Joan 
Crawford in a sport 
coat designed by 
the inventive Mr. 
Howard Greer. It 
is made of alter- 
nating horizontal 
stripes of two- 
toned caracul. 
With it, Joan wears 
a scarf of blue wool 
tomatchthe 
lining 



HERE'S a story that will break the hearts of Chicagoans. 
Greta Garbo arrived there one windy, snowy morning on 
her way to Sweden. All the hotels were filled up and there 
were no rooms for Greta. Colonel Tim McCoy found her 
sitting forlornly in a taxicab, enjoying one big cry. The gallant 
Colonel hunted up a room for Greta, arranged for reserva- 
tions on a New York train and enlivened the trip for her by 
telling her of his adventures among the Indians and cowboys. 

WHEN Greta arrived in New York, she spent one night 
in a hotel, registered under the name of Miss Alice Smith. 
Then she departed for Greenwich, Conn., to stay with friends, 
where she was inaccessible to reporters, publicity men or repre- 
sentatives of M.-G.-M. 

Everyone says confidently that Greta will return. But no 
one has any definite promises from the lady herself. She sailed 
on a one-way passport and, on the same boat, was Nils Asther. 
Yes, it's something of a romance and they say that Greta and 
Nils, banking on their European popularity, may remain in 
Sweden and make pictures together. 

"DUT all Greta has to say about their European plans is 
■^simply this: "Ven ve get back home, Nils vill eat himself 
to death, and I vill sleep myself to death." 

WHAT'S this I hear? Can it be that Norma Talmadge and 
Eugene O'Brien are to be reunited in pictures? As you 
know, Eugene and Norma have not appeared together for 



Th Studios 



York 



Murder in the 
swamps to make a 
sport costume for 
Leila Hyams. Leila 
is wearing alligator 
skin shoes, belt and 
purse. Also — what 
is a new trick — an 
alligator scarf and 
alligator trimming 
on her felt hat. It 
serves thealligators 
right ; they're of no 
value when alive, 
anyway 




several seasons, although they were a popular team not so many 
years ago. And now, they say, Norma will summon Eugene 
from retirement and the two will play in one of those sweet and 
sentimental romances that made them famous. Which would 
indicate that Norma is tired of the hot stuff. 

Incidentally, Norma sneaked off to Europe to visit her sister, 
Constance, on the Riviera. And Gilbert Roland showed up 
in Europe at that same time. 

SO much has been said about Valentino's home, "Falcon's 
Lair," being haunted, that S. George UUman, formerly 
Rudy's manager, went on a spook-hunting tour, the idea being 
to intercept ghosts (if any) in this beautiful home that keeps a 
lonely vigil high up on a ridge back of Beverly Hills. 

Ullman's psyphic investigations covered two nights. The 
first night, armed with nothing but a firm determination 
to stay awake, he occupied a chair in Rudy's bedroom, hop- 
ing that Rudy would return and have a little chat with him. 
About two o'clock in the morning, however, he went sound 
asleep and awakened with the sun shining in his face, his only 
reward a stiff neck. He was greatly disappointed, naturally, so 
the following night he tried again, and managed to keep awake. 

"Imagine my disappointment," said he, "when Rudy 
not only did not show up, but did not even send word — 
Rudy nor any other spook. 

"There wasn't a rap or a knock or a lipping table or a 
teetering chair. No supernatural phenomenon of any sort 
materialized." 




Mary Pickford's bob started out cautiously 
at shoulder length. It was a "compromise 
cut." But continual snipping reduced it 
to this. Here is the bob you will see in 
Mary's first talkie, "Coquette," the story 
of a very modern girl 



ADOLPHE MENJOU plans definitely on making 
pictures abroad. He is so definite, in fact, that the 
beautiful home, built not long ago for his bride, is for 
sale. If you have 890,000 lying around loose you can 
have the thrill of owning the house once graced by 
Menjou and Carver. 

I saw a Russian movie, 

So cheery, gay and Red. 
I couldn't wait till I got home 

To kick my grandma dead. 

MANY a merrie quip was bandied about by the British 
editors who recently visited Hollywood, en masse. For 
instance, a newspaper photographer placed Charlie Chaplin 
next to W. J. T. Collins, of the South Wales Argus, the idea 
being to make a most distinguished picture. When the ordeal 
was over, the editor turned to the comedian and asked, " I say, 
would you mind telling me your name?" Charlie looked a bit 
embarrassed and finally confessed that his name was Chaplin. 
"My gawd!" exclaimed the astounded .■\ustralian, "I thought 
you wore a mustache!" 

JOHN B.\RRYMORE was introduced to Alan Pitt Robbins. 
parliamentary reporter of the London Titncs. Very gravely 
the Barrymorc took the Robbins hand and remarked, "What a 
name, what a name!'' 

H. Bancroft Livingstone, acting British consul at Los 
Angeles, sat on a sofa in a studio dressing room for half an hour 
with D. W. GriflUh, talking profcmndly of this and that, and 
when GritVith had gone, the consul asked : " Who was that?" 

"D. W. Griffith," someone told him. 

"He never told me," said the consul sadly. 

47 




International Newsreel 

The surprise marriage of the season — Evelyn 
Brent and Harry Edwards. They staged an 
elopement to Tia Juana, Mexico, thereby cheat- 
ing their friends out of a big wedding and cele- 
bration. Mr. Edwards is a film director, and so 
he knows a good actress when he sees one 



Not just a publicity picture nor a search for the 
Lost Chord. Jeanette Loff really can play the 
organ. She used to furnish the incidental 
music to pictures in movie theaters up in Oregon. 
And now Jeanette supplies the inspiration for 
her fellow members of the Musicians' Union 



LOOSE talk: Colleen Mooie is going to make a talkie and 
then retire from the screen. Anyway that's the story. And 
Vilma Banky may retire temporarily, for a very interesting 
reason. How shall we go about telling Doug Fairbanks, Jr., 
that he would look better with a hair cut? Lilyan Tashman, 
once a darned good show girl in New York, has gone ritzy. 
Maria Corda, who was forgotten for awhile after she was not-so- 
hot in "Helen of Troy," was welcomed back to the First 
Nation al Studio with flowers and cheers. For why? The news- 
papers had it that Joan Crawford was on board the Celtic when 
that ship went on the rocks off the Irish coast. But calm down, 
it was another Miss Crawford. 

'T^HE sequel to the button-maker's story has just come 
-*■ to light. 

As we all know, according to humorists and disgruntled 
authors, all motion picture producers were once pants 
pressers or button-makers. 

David Selznick, Paramount producer, stepped into a 
tailoring establishment on the boulevard to order a suit. 
He fretted about while the minutes sped and finally said : 

"I can't wait longer. Send a man down to the studio to 
take my measurements." 

"Sorry, Mr. Selznick, ve can't do that. Ve lost two 
fitters out at Metro-Goldwyn-Mayer vhen they vent out to fit 
Mr. Thalberg." 

ONE of the wisest little gals in the business is Camilla Horn. 
Every week she puts a large chunk of her salary in a nice, 
sturdy German sock. She is living at the beach in a house that 
rents for $100. She has but one servant, a German maid, and 
although she always looks smart she does not spend lavish 
amounts of money on her clothes. If she goes back to Ger- 
many, it will be to live in a castle — not an air castle, either — on 
the Rhine. 



THREE years ago the midget, little Billy, played the 
Orpheum in Los Angeles. His dresser was a tall, good look- 
ing young fellow drawing a salary of $25 a week. The lad used 
to pick up an extra dollar or so by running errands for the rest of 
the actors on the bill. 

One day he said, "I think I'll stay in California and try my 
luck at pictures." 

The boy was Charles Farrell. 

'pjERE are a couple of new o.ies to add to your dictionary 
of talkie slang : Wild shot^a scene that is silent. Play 
back — the voice test without pictures. 

THE talkies are making strange stars. Just now there is a 
scheme on foot to make a big picture starring plain, fat, 
elderly Schumann-Heink. Mary Pickford is all for making it a 
story of the grand old lady's own life. Mary and Madame got 
so worked up over it at a recent reception at Pickfair that they 
sobbed on each other's shoulders. 

Warner Brothers have a contract with Schumann-Heink 
to make eight song subjects for $5,000. But the contract has 
been rewritten so that Madame will make only one — and get 
$3,500. 

AS for Mary Pickford, she is frankly worried about finding 
an ending for " Coquette." In the play, the girl commits 
suicide. Mary feels that this is laying on the tragedy pretty 
thick for her public. So there probably will be two endings, one 
for the big cities and one for the small towns. 

WHEN Ruth Elder left Paramount she did not sink into 
oblivion. Instead she went out and got herself a job as 
Hoot Gibson's leading lady. She's determined to whip this 
movie game. 




Helpful hint to housewives: How to slice onions 
without getting red eyes — as demonstrated by 
Raquel Torres. Get a pair of aviation goggles 
and avoid the tears that often spoil all the fun 
of a steak-with-onions dinner. Things like this 
sometimes keep homes from breaking up 



"Bubbles" Stieffel and Reginald Denny had a 
formal wedding. The bride, whom you know 
on the screen as Betsy Lee, wore a gown of white 
tulle, with a bit of real lace forming a cap effect 
to hold the veil. The ribbon chin strap was held 
in place by sprays of real orange blossoms 



It appears that Ruth and the western star are that way over 
each other both on and off the screen. Hoot leaves his spurs at 
home and takes Ruth to Mayfair and other select gathering 
places. 

IN again, out again, in again for Esther Ralston. First it was 
announced that Paramount would renew its contract with 
Esther. And then negotiations were all off. A week later, Emil 
Jannings selected her as leading woman in his new picture. 

And Robert Castle also has Jannings to thank for a job. 
Castle, whose real name is Fred Sand, was brought over from 
Vienna to be Clara Bow's leading man. But the lad was too 
tall and so he loafed around the Paramount Studio for months, 
before Jannings saw him and gave him work. 

It's a habit Jannings has, of rescuing players from idleness. 
Florence Vidor's contract had expired when Jannings gave her 
the lead in "The Patriot," thereby boosting Florence's cause. 
And Ruth Chatterton had retired from the stage when Jannings 
gave her a start in pictures in "The Sins of the Fathers." 

THE publicity department at First National sent out an 
announcement that Ann Schaeffer, a character woman, h.is 
been given a role in Corinne Griffith's picture "Saturday's 
Children." Behind this announcement lies a heart throb stor>-. 
Years ago a pretty young girl was given a small bit at the old 
X'itagraph Studios. One of the stars felt sorry for the child 
and showed her the rudiments of a screen make-up. The un- 
known girl was Corinne Griffith. The great star was Ann 
Schaeffer. 

NOT very long ago one of those lovely friends found Johnny 
Mack Brown and said with a niy-my-you-don't-look-so- 
well expression, "Well, Johnny, my boy, the talkies will leave 
you high and dry. That southern accent of yours will ruin you." 



Johnny felt pretty bad about it. Now he's playing the lead 
with Mary Pickford. He was chosen simply because of the 
southern accent. 

As a matter of fact, he is not the exact type for the lead in 
"Coquette," but he makes his "r's" sound like "a's" and his 
"g's" like nothing. 



M 



ORE new talkie similes: 
on a sound-proof stage." 



"As welcome as hay-fever 



LORD ALLENBY, the hero of Jerusalem during the World 
War, visited Hollywood rccentl\-. And here's a nice storx 
that shows the modesty of real heroes. 

Speaking with one of his friends, he said, "Ah, you know, 
they're remarkable, these cinema stars. Really wonderful. 1 
mean . . . Mr. Chaplin, and Mr. and Mrs. Fairbanks, you 
know. Really wonderful people." 

Amazed at the praise from this man, the friend commented, 
"Why, yes. I suppose they're quite fine people. But how do 
you mean, so wonderful?" 

" Why, just imagine! These famous, great people, these Fair- 
bankses and Chaplins, who are known all over the world, 
bothering themselves to be nice to me . . . talking to ordinary 
folks just as though they were one of us!" 

PROOF that Hollywood is getting to be a city. The con- 
versation takes place between Raymond Hatton and his new 
director, Paul Stein, whom he had never met before. 
Mr. Stein: "Do you live in Hollvwood?" 
Mr.Hatton: "Ycs;doyou?" 

Mr. Stein: "I'll be glad to take you home. Where do \ou live?" 
Mr.Hatton: " 1356 Juniper Street." 

Mr. Stein: " So you're the neighbor with the loud radio and 
the dog that barks all night! I live at 1.557 Juniper!" 

[ CONTINTED ON P.\GF, 82 ] 

i9 



^^ 





ot Like 



"I never can hope to do the type of thing 
Dad does. I have neither the physical 
energy nor the dominance. I don't look like 
him. I don't think like him. I love him 
devotedly, yet we are often constrained with 
each other" 

m 



Dad 



Douglas Fairbanks, Jr., plays 
L'Aiglon to his father's 
Napoleon. A story of great 
love and little understanding 

By 
Eloise Bradley 



DOUGLAS FAIRBANKS, JR., slept all night on a park bench- 
just to see what it was like! 
He set up pins in a bowling alley and jerked sodas behind a 
drug store counter — all for the experience. But his reputation 
in Hollywood is that of being high hat. He cannot cope with the back- 
slapping, ready democracy of the film colony. 

He is morbid, philosophic, poetic, and his ambition is to have it said 
of him when he dies, "He was a great artist." 
To him the only realities are the unrealities. 
This, you see, is the artist's viewpoint. 

Now contemplate his famous father, the Ambassador of Optimism, the 
Man of Deeds. Doug, the elder, has a gift for assembling, for gathering 
together men with fine minds and for getting the best out of them. He 
gives promise of being a producer, a doer, and like men of this rugged, 
virile type, is ashamed of sentimental emotions, the same sentimental 
emotions that come under young Doug's keen analysis. 

Once the father and son were at the same gathering. There was an 
elderly lady sitting in the corner alone. Doug, Sr., went over to her and 
asked her to dance. 

DOUG, JR., sitting apart in a speculative mood, thought it quite splen- 
did of his father and smiled at him across the room. The older man 
frowned and blushed. He was ashamed that his son had discovered him 
in a generous moment. 

They are rather pitiful together, father and son. They have a great 
love, but little real understanding. 

"I have been both helped and handicapped by a famous father," said 
the boy. "He has given me a fine inheritance, but the situation has left 
me protected yet not protected. I feel as if a wall were around me. I 
can just see over the top. 

"When I first started in pictures they played me to look just like Dad. 
They were trading on his name and I resented that. I was never given 
credit for being an individual, yet I never can hope to do the type of 
thing that Dad does. I have neither the physical energy nor the 
dominance. 

"I don't look like him. I don't think hke him. I love him devotedly, 
yet we are often constrained with each other. 

"He is embarrassed when I thank him for anything he has done for 
me. At Christmas time he runs out of the room when I tell him that I 
appreciate my gifts, and whenever I do anything that he's proud of, he 
just gives me a friendly little shove and mumbles something about my 
being a good kid." 

Upon Doug, Jr.'s, artistic life the influence of John Barrymore has 
been greater than that of his father. He is [ continued on page 90 ] 




Manatt 



/LATEST photograph of Our Weakness. Greta Garbo in a 
^ Javanese bridal gown. Greta wears this costume in the last 
_ V^ picture she made in this country before departing for that too- 
distant Sweden, And we won't have one happy moment until she 
returns. 



61 



THE NATIONAL GUIDE TO MOTION PICTURES 




The 



JOAN OF ARC—Societe Generate de Films 

THIS film has been shown in France, Germany and Den- 
mark but barred by the British censor. It is too stark 
and realistic for general release here — and yet it is one of the 
significant milestones of film progress. 

"Joan of Arc" does not relate the whole story of the Maid 
of Orleans. It concerns itself only with her last hours — of 
her trial, her recantation, her death at the stake. Back- 
grounds are almost completely dispensed with and the tragic 
panorama of history is told entirely in close-ups. The per- 
formance of Mile. Falconetti as Joan is one of those rare and 
beautiful things of the films, a magnificent rendering of an 
overwhelming role. 

"Joan of Arc" is for serious observers of the screen. 
Carl Dreyer, the director, will bear watching. He has cine- 
matic genius. 




THE FLYING FLEET~M.-G.-M. 

THIS picture seems to be the "ace of the air epics." 
There's no movie plot, no "situations," no "props." 
Based on an episode lifted from naval life, the story glorifies 
young American manhood. The story opens with six mid- 
shipmen being graduated at AnnapoHs. The San Diego flying 
base tests eliminate three. Weeks of gruelling air training 
follow at Pensacola; one crashes, and the remaining two, 
now full-fledged sea hawks, prepare in San Diego for the 
first Honolulu flight. A "splashing" climax is reached when 
the giant hydroplane volplanes into the sea. 

Ramon Novarro, Gardner James, Ralph Graves and 
Carroll Nye each have probably the most quietly dramatic 
but most strenuous roles of their respective careers. George 
Hill, the director, has done well. 



Shadow 
Stage 

(REG. U, 3. PAT. OFK.) M ^ 

A Review of the New Pictures 




IN OLD ARIZONA— Fox 

THIS picture makes the most effective and intelligent use 
of sound and conversation yet displayed. It points the 
way to bigger and better talkies. The Fox Movietoners 
have learned how to blend sound, conversation, laughter and 
music to produce dramatic effect. A braying donkey, for 
instance, furnishes a novel obligato to vital conversation, 
and clattering hoofs, cracking whips and rattling vehicles 
combine in a symphony that pleases the eye and the ear. 

Raoul Walsh started to direct this but a jackrabbit 
jumped in his eye and Irving Cummings had to finish it. 
Both deserve much credit. Except for one scene, the story 
flows with fluid smoothness. The dramatic significance of 
one of the most important scenes is marred, however, be- 
cause a director could not resist moving his camera to get a 
different angle. 

The outstanding performance is given by Warner Baxter 
as the singing, laughing Cisco Kid, a fascinating and gallant 
bandit. Dorothy Burgess, who comes to the screen from the 
stage, brings an excellent voice and a film personality that 
promise much if she holds the pace of this Mexican temptress 
who plays with the hearts of a soldier and a bandit. 

The picture is based on the O. Henry story, "A CabaUero's 
Way," and it tells how a sure-shooting, lady-loving army 
sergeant and two soldiers are sent into a section of the 
frontier West to "get" a bandit who is terrorizing the 
countryside. Edmund Lowe gives a neat and What-Price 
Gloryish performance as the sergeant. The ending of the 
story preserves all of the O. Henry artistry and throughout 
it has a flavor that stamps it as exceptional entertainment. 



SAVES YOUR PICTURE TIME AND MONEY 



The Best Pictures of the Month 

IN OLD ARIZONA THE IRON MASK 

JOAN OF ARC THE FLYING FLEET 

THE CANARY MURDER CASE 

THE CASE OF LENA SMITH 

The Best Performances of the Month 

Mile. Falconetti in "Joan of Arc" 

Lupe Velez in "Lady of the Pavements" 

William Powell in "The Canary Murder Case" 

Esther Ralston in "The Case of Lena Smith" 

Doug Fairbanks in "The Iron Mask" 

Warner Baxter in "In Old Arizona" 

Dorothy Burgess in "In Old Arizona" 

Phyllis Haver in "The Shady Lady" 

Casts of all photoplays revieived will he found en page 134 




THE IRON MASK— United Artists 

ACTION, action, action — more action! That tells the 
story. It is adroit. It is imaginative. It is resplendent. 
Sets are marvelous, crowds give great mass movement. 
There is the characteristic Fairbanks breadth and sweep and 
stunts. And it is his best job of story-telling. 

The story begins some years after the close of "The Three 
Musketeers." These rollicking adventurers come back, and 
with them D'Arlagnan, also the crafty Richelieu, and Con- 
slance, the beautiful lady in waiting to the Queen. And 
Milady De Winter — that gorgeous role which made Barbara 
La Marr famous — played by Dorothy Revier, who makes a 
splendid and vicious De Winter. 

The story has to do with Cardinal Richelieu's misguided 
efforts to protect France by banishing one of the twin sons 
of King Louis XIII . He fears that two kings on the throne 
may precipitate revolution. In trying to dispose of Con- 
stance, who knows twin sons were born, Richelieu brings upon 
himself the wrath of D'.lrtagnan andthe Three Musketeers. 
The Cardinal finally forces the separation of the Musketeers, 
but they foregather twenty years later and save the ruling 
king from his scapegoat twin brother who attempts to usurp 
the throne. In this adventure they lose their lives — even 
D'Artagnan — butnotuntilthey thwart the banished brother's 
murderous scheme and make him prisoner for life as "The 
Man In the Iron Mask." 

Young William Bakewell does the dual role of the twins. 
Loud cheers, please. Others of the original cast do well. 
Fairbanks gives us D'.Artagnan artistically done, particularly 
the aged D'Artagnan. Don't miss it. 




THE CANARY MURDER CASE— Paramount 

T)HILO V.ANCE, Sherlock Holmes' logical successor, was a 
^ happy choice for William Powell's first starring character- 
ization. The well knit story lends itself perfectly to e.xciting 
screen entertainment. It is a relief to see a good, honest murder 
built with the precision of a mathematical proljlem. There is 
no court room scene. There are no gag reporters. Praise 
the Muses! It's a well constructed yarn of the old school. 

Director Mai St. Clair had a job when he undertook to 
identify so many principal characters. One of the most in- 
triguing moments is when Philo Vtincc plays a friendly game 
of poker to determine the psychological reaction of each 
suspect. 

William Powell is superb. The rest of the players, includ- 
ing Louise Brooks, Jean Arthur, James Hail, Charles Lane, 
Clustav Von Seyffertitz and many others, win credit. 




THE CASE OF LENA SMITH— Paramount 

THIS is Paramount's answer to the cry, "Please, Mister 
Producer, send us a good picture that doesn't talk." For 
that reason alone you should see it. It's unconventional, 
much is left to the imagination and the seams and raw edges 
of life show through. 

A peasant girl goes from her native village to Vienna be- 
cause she wants pretty clothes. She secretly marries a 
profligate army officer, bears him a child, becomes a servant 
in the home of his imperialistic and uncompromising father, 
provokes the father's wrath and eventually exposes him as a 
tyrant because he attempts to take her child. 

As the adventuring peasant girl, Esther Ralston is superb. 
Gustav Von SeyfTertitz is admirable as the father, and Fred 
Kohler is fine as the spurned village lover. 

63 



Watch Photoplay's New Sound Reviews 



LADY 
OF THE 
PAVEMENTS 
— United 
Artists 




THREE 
WEEK-ENDS 
— Paramount 



HONORS for Lupe Velez! This startling personality with 
the emotional mechanism of a great actress 75 the picture. 
In this slight story, concerning the French Court, revenge and 
diplomacy, D. VV. Griffith misses many chances for that fine 
poignancy which characterized his earlier work. Jetta Goudal 
is as strangely fascinating as ever, William Boyd is pale, but 
Lupe gives a magnificent performance. 



CLARA BOW gives a lively humor to this weak little yarn of 
a cabaret girl who falls in love with a handsome young chap. 
She thinks he is a millionaire, but he turns out to be just an 
everyday insurance agent. The story lets Clara appear in 
cabaret scanties, in step-ins and in snug bathing garb. And 
she gives a brisk and hearty performance. Nevertheless, the 
film isn't Clara at her best. 



REDSKIN— 
Paramount 




THE SHADY 

LADY— 

Pothe 



THE story opens in a government Indian school. If, from 
that, one can't tell how it is going to end your head is as 
empty as the Grand Canyon. The hero, Richard Dix, is not 
accepted by the whites. His tribe renounces him, but he wins 
the girl. Not even the magnificent color sequences, nor the 
fact that oil gushes from volcanic rock for the first time in 
history saves " Redskin " from mediocrity. 



IF this story were as good as the work of the players, it would 
be one of the best of the month. An American girl, involved 
in a murder case, flees to Havana and becomes entangled with 
two ruthless gunrunners. Phyllis Haver, as the girl, gives a 
cool, poised characterization. Robert Armstrong and Louis 
Wolheim, gunrunners, are forceful and delightful. Some 
mystery and much keen comedy. 



SYNTHETIC 

SIN— 

First National 




AFTER such a beautiful production as "Lilac Time" and 
such an amusing yarn as "Oh Kay," Colleen Moore's new- 
est effort falls flat. It concerns a nice girl who, in order to 
become a great actress, goes to New York and to sin. It's a gag 
picture, with Colleen performing her usual antics and perform- 
ing them unusually well. But antics alone don't make a pic- 
ture. For Moore fans only. Antonio Moreno has the lead. 

54 



^■i 


1 


m ^^mKK^-^' '•'"'J 


1*' 


WmL^^m.m I 


' 0" 



THE WOLF 
OF WALL 
STREET— 
Paramount 



THE moral is: Don't buy Rocky Mountain Copper unless 
you're sure that the wall street wolf is entangled in matri- 
monial difficulties. You've guessed it. It's about a financial 
genius who watches tickers and takes suckers' money and 
doesn't care. It's a disappointment after the fine work done by 
George Bancroft in other, and more virile, pictures. Baclanova, 
too, has little chance to show her talents. 



for the Latest Talkie Developments 



CAPTAIN 

LASH— 

Fox 




DREAM 
OF LOVE- 
M.-G.-M. 



THEY'VE achieved the realism they apparently were striv- 
ing for, in this futile story of stokers and waterfront women, 
but a little of Victor McLaglen's ribaldry goes a long way. 

In the stokehole, he moons over a " loidy " three decks above, 
but finds she's a crook, decides to forget her, and goes back to 
Singapore Sal. 

Clyde Cooke, as the hero-worshipping satellite, is the 
comedy relief. 

You will find that this picture will look to you strangely 
reminiscent of "Docks of New York," without its artistic 
depth. 



ADRIENNE LECOUVREUR" adapted in semi-modern 
style. Just another variation of the prince who loves a 
poor girl but can't marry her because of his blue blood. 
Perhaps some day one of these princes may show less control 
and marry the girl. The story becomes a parade of stuffed 
uniforms, hundreds of extras as nobles, peasants, gypsies and 
plotters. 

Joan Crawford is Adricnue. She should be cast in brisk 
modern roles. 

Nils Asther is the prince. 

The picture is as phony as they come. 



[ Additional reviews of latest pictures on page 76 ] 



Sound Pictures 



THE GHOST 

TALKS— 

Fox 




THAT PARTY 
IN PERSON— 
Paramount 



FOX 'S first all-talking, feature length farce-comedy introduces 
the stage favorites, Helen Twelvetrees and Charles Eaton. 
The story is cleverly built around the comic antics of a corre- 
spondence school detective and is splendid for its entertaining 
dialogue. 

Eaton is the amateur detective and his voice fits the blank 
face perfectly. Helen has to "lisp," so hers is hardly a fair 
voice test. 

Carmel Myers has only a bit, but the charm of her speak- 
ing voice is apparent. 

Plenty of laughs. 

THE LION'S ROAR— Educational 

IF you like Mack Sennett comedies, you'll like this one better 
with sound — and talking. 

Now you wiU hear the shrieks of the beautiful heroine as 
she flees from the roaring lion, and the swish of the custard 
pie as it plops the unhappy saxophone player squarely between 
the eyes. 

It's the same Sennett comedy formula, this time with the 
stalking lion to help provide the noise. 



EDDIE CANTOR seems a real bet for the cinema. Indeed, 
he appears to be the only possible contender to Al Jolson 
anywhere on the horizon. 

In "That Party in Person" he does a brisk turn, several 
nervous songs and gets neat assistance from a cute trick, one 
Bobbie Arnst. 

Cantor is going to do more talkies, we hope. His style is 
exactly suited to the sound films. 

PHIPPS—M.-G.-M. 

A SHORT talkie of a spendthrift British lady, her husband 
and the butler, who offers to provide his employer with the 
necessary divorce evidence. These three compose the en- 
tire cast. 

Lowell Sherman is the suave butler and the other two roles 
are placed in the hands of Cyril Chadwick and Betty Fran- 
cisco. 

This sketch has no particular American movie appeal. But 
you'll see a lot more of these experimental bits while the 
movie moguls monkey with their bright new plaything, the 
talkie. 

65 




IRTH 



Six authors in search 
of Inspiration. It's a 
great Hfe. If the pic- 
ture is good, the direc- 
tor gets the credit. If 
it's bad, the story is to 
blame 



Waldemar Young used to 
be a newspaper man 
himself. So, in his office, 
he must catch the city 
rooni atmosphere before 
he can write. This may 
easily be achieved, even 
by the amateur, by 
throwing newspapers, 
matches and cigarette 
stubs on the floor. Mr. 
Young is plotting hor- 
rible doings for Lon 
Chaney in "Where East 
Is East" 



W^ 





Dorothy Farnum, spe- 
cialist in romantic 
dramas, must Throw 
Herself Into the Mood. 
Nothing helps a Mood so 
much as a chaise longue 
and a luxurious negligee. 
And, of course, Music. 
When writing love scenes. 
Miss Farnum plays "Kiss 
Me Again." And again 
and again 

Helping Mamma — Agnes 
Christine Johnson and Her 
Gang. Ladies who would "do 
big things if it weren't for the 
children," please take notice. 
Mrs. Frank Dazey, one of the 
most successful script writers, 
works in the nursery. If you 
look elsewhere in this issue, 
you'll find a charming short 
story by Miss Johnson 



of a 

Notion 





Showing the devastating effect of Gilbert 
Garbo subtitles on Miss Ruth Cummings. 
When Miss Cummings wants to think of 
something sweet for John to murmur to 
Greta, she orders up a flock of chocolate sodas 
from the studio lunch room. Miss Cum- 
mings wrote the titles for "A Woman of 
Affairs," and after she finished, there wasn't 
a spoonful of chocolate ice cream left in 
Southern California 



Thewhole M.-G.-M. Studio 
was once thrown into a 
panic because one of Joseph 
W. Farnham's cleverest 
subtitles was sent to the 
laundry by mistake. Mr. 
Farnham asks for no office, 
no typewriter, no station- 
ery. Give him a sharp pencil 
and a clean cuff and he's 
ready to go to work 



Give 'em noise. Give 'em 
excitement. Byron Morgan, 
author of college stories, 
works with sound effects. 
Mr. Morgan supplies the 
words; Ann Price and Ray 
Doyle, two fellow writers, 
contribute the music. When 
this boy gets to work, the 
neighbors for five miles 
around close the windows 



57 




Unfortunate occurrence when a talking 

picture "voice double" consents to make a 

personal appearance at a movie theater 



Take Your Choice 

Bemoan the lot of Canon Chase, 
Who thinks that films will rot the racel 
We hear him try, with godly glee. 
To scream them into purity. 
While all the lovely movie ladies 
Still lead us liappily to Hadesl 
We face the issue full o^ fear, 
And yet the public's choice is clear — 
Miss Alice White in scant apparel, 
Or Bull Montana in a barrel! 



The Gag of the Month Club 

The cashier of a small movie house is selling tickets ai; a pal 
looks on. 

A customer buys a quarter ducat, lays down a half dollar and 
walks away leaving his change. 

"Does that often happen?" asks the cashier's friend. 

"Very often," replies the ticket seller. 

"What do you do in a case like that?" 

"Oh," says the man in the wicket, "I always rap on the window 
with a spongi !" 

For this Variety gets the crepe de chine ear muffs offered for 
February. 



Snickers, Snorts and Snores 

Paul Whiteman is to get $500,000 for a talking picture . . . 
That is approximately $1,000 a pound for Oom Paul, on the 
hoof, F. O. B. Broadway . . . Describing a Hollywood pro- 
ducer, a mad wag says . . . "He's a great little guy . . . Got 
a heart as big as his nose." . . . Ireland is to have its own 
film producing company, reports Washington ... It is re- 
ported that Patrick J. O'Zukor and Michael O'Laemmle are 
interested . . . Paramount is making talkies at Astoria, Long 
Island . . . Paramount's resulting slogan . . . "Astoria Pic- 
tures — Babies Cry at Them" ... A film critic calls her 
"Dolores Dull Rio" . . . My one line review of Norma Tal- 
madge's latest film, thanks to the theme song . . . "Woman 
Disputed, I Hate You" . . . How they make a movie master 
of ceremonies, according to Carl West of Detroit ... If a 

58 




EELING 



OUND 



W I 



th 



Leonard Hall 



well-dressed, curly-haired pretty boy comes to town, they 
throw a stick at him ... If he catches it, he's a master of 
ceremonies . . . Warner Brothers finishes a talking picture 
in three languages . . . This is probably it . . . "Willst du 
ein trink haben?"— "Qui!"— "Try and get it!" ... Ah well, 
money makes the Metro-Goldwyn-Mayergo! 



"Broadway Melody" 

"While working in 'Broadway Melody,' Anita Page had an 
attack of hysterics on the set, followed by a nervous collapse, and 
had to be taken home." — News note. 

My guess is that the studio fiddler began it all by playing 
"Sonny Boy." 

Getting Personal 

John Barrymore gave his age to the license clerk as 41 . . . 
The book says he was born Feb. 15, 1882 . . . Try that on 
your abacus . . . Denying a line here last month, Neil Ham- 
ilton's secretary says the actor doesn't even know Mary 
Nolan . . . Well, tough luck, Neil, say we . . . Cupid has the 
flu in Hollywood, and all we have to whisper is that Gary 
Cooper and Lupe Velez and Bert Lytell and Claire Windsor 
are seen together at some of the best soda fountains this 
winter . . . Jackie Coogan, at $3,000 a week, was not a hit in 
London . . . And neither was his old man . . . Talkie actors 
say that "Mike Fright" is worse than "Kleig Eyes" . . . 
Dorothy Sebastian's nickname is "Alabam" . . . Lillian Gish 
mi.xes only one cocktail at a time, using an ordinary tumbler 
and a tea spoon . . . She doesn't drink, the cocktail being for 
the boy friend . . . Incidentally, Lil, since her return from 
Germany, has been wearing fifty pounds of ice on her left hand 
... Go on and guess . . . Phyllis Haver cleaned up on 
Mexican Seaboard Stock . . . Bought at 26 and sold in the 
upper sixties . . . Stocks and Blondes, to steal a movie title 
. . . Incidentally Phyllis, when she likes anyone, always says 
"He's a honey!" . . '. There are 8,000 male actors (?) in Holly- 
wood, and only 25 are blondes ... Of these, 12 are leading 
men and 13 are extras . . . Bleach and go west, young man! 
.... "Sonny Boy" has been recorded 55 times as we go to 
press . . . My God, is that all? . . . Miss Margaret Johnson, 
17, of 224 West Brown Street, Morristown, Pa., spent $40 
trying to long-distance her idol, Clara Bow, in Hollywood . . . 
Miss Bow was on location at the time . . . That's plumb dis- 
couragin' . . . Carmel Myers, the Rose of Sharon, has written 
the words of a pop ballad called "Everything That's Nice to 
Me" . . . Published by Mills . . . Lupe Velez laid down $100 
for three pairs of evening slippers a while back . . . Ruby 
and diamond heel sort ... A movie elephant in Hollywood 
gets $150 a day and $1.50 in India . . . But what fun can an 
elephant have in India? 




Ruth Harriet Louise 



/NTRODUCING a girl named Dorothy Penelope Jones, who is fifty per cent pure 
American Dorothy is half Cherokee Indian and Jones is an old tribal name. The 
movies have re-christened her Dorothy Jams, and it is under that name you will 
find her in the cast of "The Pagan." Incidentally, she is one of the smallest girls in 
pictures being only four feet, eleven inches tall and weighing ninety-four pounds 



Costumes with the 




Hollywood chal- 
lenges Paris to 
create a more inter- 
esting collection of 
gowns 



Joan Crawford in a 
sedate mood that was 
evoked by this charm' 
ing and conservative 
dress by Howard 
Greer. It is of black 
moire and it has a 
molded hip Hne, only 
broken by a bow on 
the left side. With 
this formal gown, Miss 
Crawford wears no 
jewels except a pair of 
crystal bracelets 



This dress is printed 
white velvet and it 
has a scarf caught 
on the right shoulder 
with a bunch of camel- 
lias. The neckline is 
high in the front and 
low in the back, which 
is a habit of evening 
gowns these days 





A really stellar evening gown. 
Adrian, its creator, has named it 
"Nordic Night." The sequins and 
crystal beads, embroidered on the 
white souffle background, rep- 
resent icicles. The gown has a 
long narrow panel in the back, 
falling in train effect. Rhinestone 
slipper buckles and diamond brace- 
lets add to the glittering ensemble 



Dramatic 
Instinct 






* 




J 




A dress for a mystery play, designed by 
Adrian. Just the thing to wear if you are 
going to steal the letters. Adrian calls it 
"The Toga," in deference to the Romans. 
It is fashioned of rayon velvet and the 
whole secret of its success is in its artful 
draping and the long, flowing scarf which 
extends from the elbow to the hemline 



This is the evening coat that Miss Craw- 
ford wears with "Nordic Night." The 
coat is of white satin with a huge stand-up 
collar and wide cuffs of white fox fur. 
The circular skirt is embroidered with a 
particularly beautiful design in silver. The 
coat, too, has a sweeping panel in the 
back to synchronize, as it were, with the 
tram of the gown 





Not all of Hollywood's 
frocks are beyond the 
purse or the person- 
ality of the average 
girl. Some of the best 
movie designs are both 
youthful and simple; 
as witness, this sport 
costume by Greer. It 
is a light grey camel's 
hair with an upside- 
down fleur-de-lis pat- 
tern of red jersey that 
edges the jumper and 
forms a panel design 
on the front of the 
skirt 



Photos by 

Ruth Harriet 

Louise 



J? IW 




Richce 



yQAN this be Ruth Taylor? And can it be that she is wearing a costume left by 
/ Pola Negri on her departure for Europe? And the futuristic background, what do 
V^' you make of that, Watson? Ruth is getting into the atmosphere of her new picture, 
"Young Sinners," which relates the romance, joys and piquant problems of one of those 

ultra-modern girls 




list a 



Hollywood Day 



Herb writes a letter to the editor 



and tells how hard a journalist 
has to work when he's tracking 



with 

Herb Howe 



down news 



Hollywood, Calif. 

DEAR Jiu: 
You ask me for a little dirt — well, I'm surprised! 
You know very well that Greta Garbo and I are the 
most aloof people in Hollywood (though not aloofing 
,'cther, I regret to say), unless you count Texas Guinan, 
ose aloofness on her last visit was not altogether her fault. 
, !;ese Hollywood hi-hat hicks! 

I regret to say that I have been stepping out from my monas- 
! ic seclusion considerably this month, but I console myself with 
llie thought that some of our greatest saints made whoopee 
when }'oung. 

My record this month looks like the fliary of flaming youth 
or Fannie Ward's. 
For instance, I * * * 

Well, naturally, Jim, I can't very well prove it if you are 
LMiiig to substitute asterisks for the hottest stuff. I think 



it a great mistake to make Photoplay a family 
magazine. Indeed, I shall ignore the policy 
and go right ahead. After all, it may be an 
e.\am[)lc toother boys. 
I spent the first week of the month at Warner Gland's beach 

house getting in condition. The Warner Olands are firm 

Buddhists, like myself. 

That is, they believe in sitting and meditating on the sands, 

with now and then a dash indoors for a helping from Prahedis, 

Mexican culinary genius. 

OUR discourses are always philosophical. The only person- 
ality to enter in was Nils Asther. I could discount some of 
Warner's enthusiasm for Nils because they are both Swedes 
and like the same punch, which is the greatest bond of brother- 
hood. But Edith Oland is an impartial critic and artist in her 
own right, and she says Nils is the most charming, cultivated 
and talented young man she has observed during her years in 
Hollywood. 

Likewise, our girl friend, the authoritative Pringle, thinks him 
interesting, "though an actor." [ coxtixued ox page 132 ] 



"I sometimes wonder if fans would envy 
us magazine writers our fabulous sal- 
aries if they knew how hard we have to 
work. Some days I lunch with three 
or four stars, dine with as many more, 
and see previews of silent and talkie 
pictures" 



':f-,< 



Illustrated by 

Ken Chamberlain 



!< ■' i 



/'">"■, "«J>7 



0^^C< 




J^t/-/ 




K, i^ f~itm^/4vtl. 



The Stars' Mad 

Horrible expose of what goes on in 
the Gilded Palaces of Hollywood 




The Gleasons — Lucille, James and Russel — used to be respectable 

stage folk. Now that they live in Hollywood "Murder" is merely 

a game — a pastime to while away an evening. The Academy 

of Arts and Sciences tried to have this picture suppressed 



SODOM and Gomorrah in (heir 
wildest days were so many Podunks 
to Hollywood on an off night. 
Rome just before it faw down, 
compared to the film colony, was a tiddle- 
dy-wink tournament for deaf mutes. 

How the stars do go on! 

The rage for playing wild games has 
hit Hollywood between the eyes, and all 
is confusion. 

Movie actors, dizzy with draughts of 
pineapple juice, stagger from bungalow 
to bungalow on progressive backgammon 
jags. Game-leggers are peddling jack- 
straws to the girls. It is reported that 
Deacon Will Hays has banned the game 
of "consequences," and that the morality 
of checkers and dominoes is under dis- 
cussion by the Motion Picture Academy 
of Arts and Sciences. 

Go for a ride to the beach with film 
players and what do they do? Add up 
automobile license numbers, with the 
quickest adder winning. At the moment 
of going to press Clive Brook is champ, 
with Neil Hamilton and Louise Fazenda 
in the money. 

Jimmy Gleason and his wife, Lucille 
Webster, introduced the game of 
"murder" to Hollywood. The Gleasons, 
the Robert Armstrongs, Vera Reynolds, 
Daphne Pollard and her husband are 
among its best addicts. 




Scandalous diversion 
at the beach home of 
Louise Fazenda. 
Louise and her guests 
play a wild game 
called "All Fall 
Down." You, too, 
played it in your flam- 
ing kindergarten days 
under the name of 
"Statue" 



Sinister Oriental doings at the home 
of Jacqueline Logan. Jackie has a set of 
Chi Chi sticks and — don't tell the re- 
formers — it's a fortune-telling game 




64 



Night 

By 
Ruth M. Tildesley 



One of the group is appointed District Attor- 
ney. The rest are witnesses until they fail to 
testify correctly, whereupon they join the 
prosecutor. 



SUPPOSE the company decides to murder Will 
Hays. The District Attorney announces that 
Will Hays' body has been found in the Chinese 
Theater at ten o'clock in the morning. James 
Gleason, as district attorney, turns to the first 
witness: "Mrs. Armstrong, at ten o'clock this 
morning, you were observed leaving the Chinese 
Theater. Will you kindly explain your business there and what 
you saw?" 

Whatever Mrs. Armstrong says is thereupon the truth and 
must not be varied from by any other witness. If she declares 
that she saw Vera Reynolds running out of the stage door with 
a gun at five minutes to ten, and that Mrs. Gleason delayed the 
witness in the lobby to ask if her hat was on straight, exactly 
that testimony must be repeated arjd adhered to by everyone. 
You can't omit that you came to town to buy a paper, if some- 
one has stated that as your purpose in coming. The idea is to 
evolve a definite plot to murder Mr. Hays and to link another 





Colleen Moore runs wild at the studio and plays "Spin the Platter." The 
abandoned youths whom she has led astray are Mervyn Le Roy, her 
director; Cleve Moore, her brother, and Jack Stone, her cousin. Whoopee! 



Vera Reynolds and Mr. and Mrs. Robert Armstrong act 

outawordof three'syllables. It's "Paradise"(Pair-o'-Dice). 

Charades is one of the games that gives Hollywood the 

reputation of being another Monte Carlo 



witness with the slaying, while clearing your own skirts of the 
crime. 

Vera, for example, having heard Mrs. Armstrong picture her 
as running out of the stage door with the gun, testifies that she 
did so run, but that two minutes before she was seen by Mrs. 
Armstrong, JMr. Armstrong had dashed up to her in the green- 
room of the theater and thrust the smoking gun into her hand, 
crying: "For heaven's sake. Vera, take this and get out of 
here!" after which it is up to Robert Armstrong to remember 
the exact quotation and sequence of events and to explain what 
he was doing with the weapon. 

One of the chief crazes of the 
season is ping-pong. Gloria 
Swanson has an elaborate ping- 
pong set. Irene Rich has turned 
her poolroom into a ping-pong 
room and almost every beach cot- 
tage contains special boards to be 
placed on the necessarily small 
dining tables so that guests may 
enjoy the game. 



THE other day I walked in 
on Richard Dix and Gregory 
LaCava walloping the little ball 
across the net, excitement having 
been added to an already lively 
contest by a wager of a hundred 
dollars a game. Most of the sport- 
ing set bet on this pastime but 
usually the stakes are lower. 

Volley ballon the sand intrigues 
the happily married, for some 
reason. Wives range themselves 
on one side of the net, husbands 
on the other, and you'd be sur- 
prised how often the wives win! 
There's a catch to that, though. 
The sand is a handicap to heavier 
players and all the wives are slim. 
The Clive Brooks, the Elmer 
Cliftons, the Xeil Hamiltons. the 

[ CONTINUED ON PAGE 127 ] 

65 




t Gets A 



In which Mr. Stan 
Guffey's theme song 
to his Dream Girl 
runs into a mess of 
static. And the 
moral of the story is: 
It's better to worship 
'em from a distance 



A SLIM ribbon of orange-colored light pene- 
trated the lavender dimness of the Bijou 
Theater and caught the tuxedoed figure of 
Mr. Stanley Guffey as it emerged from the 
wings. Mr. Guffey's subsequent progress to his throne 
before the massive horseshoe organ was a triumph of 
elegant ease. 

Smoothing his well shellacked curls and smiling 
with the tolerant ennui of a popular idol, he finally 
reached the center of the orchestra pit, whereupon he negoti- 
ated a hip rolling bow, oscillating from north-east to north- 
west with admirable precision. 

Then, before the crackle of applause died away, he sank 
abruptly into his cushioned seat and attacked the organ with 
the affectionate ferocity of the true artist. Newsreel and 
comedy flowed along to a deftly arranged medley, but Mr. 
Guffey, who was a pint-size gentleman liberally bespattered 
with freckles, cocked a disdainful eye at the screen until the 
gymnastic humor faded out. A moment later his veneer of 
boredom disappeared as the preliminary announcement of the 
feature advised a gaping public that Dora Delura in "Loose 
But Lucid," would provide the thrill of the evening. 

For the ne.xt hour and twenty minutes Mr. Guffey labored, 
and brought forth a masterpiece of accompaniment. Though 
Miss Delura's pictures bore various titles, she had but one 
story — a curious tangle of vice and virginity, crowned by a 
chiffon-blurred closeup beneath a cloud of apple blossoms — 
therefore the little musician found no difficulty in keeping step 
with her progress. 

DOR.\ DELUR.\! Two years of worship had resulted in 
Mr. Guffey knowing her better than his own relatives. The 
slightest quiver of mouth or eye seemed meant for him alone, 
and sometimes, with the house two-thirds empty at a matinee, 
a close observer could have heard him relieving his overstuffed 
heart with endearing phrases. 

"I was reading about you today, honey," he muttered, "and 
1 know you got no time for them celluloid cavaliers. ' The Nun 

66 




of Hollywood,' the story called you, 'aloof and serene, like 
moonlight on the ocean.' Imagine them writers being lucky 
enough to meet you! 'An orchid swaying on its stalk,' says 
another one, and he's right, but maybe you're lonesome like me, 
Dora. Two thousand miles between us," said Mr. Guffey 
plaintively. ''It certainly gets a guy sore." 

THEN he perked up, grinned jauntily and ushered out the 
final clinch with a wistful melody. He'd almost forgotten! 
That very morning he had been presented with a five thousand 
dollar check, bequeathed by a vaguely remembered uncle, along 
with sundry admonitions as to his conduct. To do him credit, 
Mr. Guffey's first thought had been to buy a small interest in 
the Bijou, but now he realized that distance need bother him 
no longer. 

"It's two months since Dora was here," he told himself, 
watching the audience struggling in the aisles during the brief 
intermission, "and after this week I'll have to wait just as long 
before I see her again. Wh}' shouldn't I breeze out to take a peek 
ather? Andbythesuffering Moses," saidMr. Guffey, plunging 
into the Grand March from ".'\ida," "I will; Viola or no Viola." 

After the last show he ambled briskly through the lobby, 
endeavoring to skirt the ticket seller's booth in the center, when 
a small brunette of streamline tendencies slipped through the 
door and hailed him. "Slow up," said the damsel, "and you 
can take me home." 

Mr. Guffey quailed. Just because he'd taken Viola out a few 
times and whispered a few carefully memorized subtitles, she 
had begun to think herself capable of putting up the "No 




s 



ore 



By Stewart Robertson 




The door was jerked 
open and the irritable 
Mr. Garvin inserted his 
head. ''Hey!'' he 
shouted, "I'm sending 
in a sobbie from the 
Kalamazoo 'Gazette.' 
Give her the I-Hate- 
Men stuff." "Shoot 
her in," ordered Dora, 
"but I won't spare 
much of my time, be- 
cause I'm too inter- 
ested in Stan, here" 



remarks. 



Trespassing" sign. However, when a man has acquired five 
thousand dollars, it behooves him to cultivate a little will power 
and become the master of his fate, so Mr. Guffeygritted his teeth. 

"Oh, hello," he said airily, "I wanted to say goodbye to you, 
anyway, before I grab the train to California." 

"Don't kid me," begged the lady, beginning to giggle. 

"Gravity Falls," stated Mr. Guffey, with a comprehensive 
gesture toward the Public Square, "is beginning to stifle me. 
Thirty-five thousand, and everyone knowing the other's 
laundry mark. No class at all, and besides, there's good reason 
for my holiday." He proceeded to tell her about his sudden 
wealth, looking everywhere but directly at her. 

Viola regarded him with the proprietary eye of a first mort- 
gagee. "That's a swell way to mourn, going to Hollywood," 
she told him, sniffing contemptuously. "You and your five 
thousand! If you had any imagination, you'd think of a few 
things you could do with it here." 

"I hadn't seen this uncle since I was about si.\," said Mr. 
Guffey defensively, "and the chances are he'd approve of me 
trying to learn something more about the business I'm in." 

BUSINESS! You know doggone well \-ou're going out there 
to gape at that Delura thing. How do you figure to meet 
her — get hit by her Rolls-Royce?" \'iola giggled e.xasperat- 
ingly. "No joking, Stan, do you really think she'll look at a 
mere key tickler like you?'' 

"Why not?" countered the long distance lover. "We're both 
in the same game. Besides, she leads a pretty lonesome life, 
from all accounts." 



"Boloney," said Viola. 
" Now listen," bawled Mr. 
Guffey, putting on a few pounds 
pressure, "lay off them small time 
Dora's a lady, and it wouldn't do you no harm to 
copy some of her mannerisms. Furthermore, her voice is soft 
and velvety to go with them, so I've read." 

".Anything she does is poison to me!" screeched his jealous 
companion. ".\11 right, Don Juan, gallop out to your siren of 
the shadows. I'll bet she purrs like the rest of the cats." 

They walked along until the girl's house loomed ahead, and 
then, drawing him under a sycamore, she raised her face to his. 
"Stan," she said coaxingly, "tell me something nice." 

CERT.\INLY," said Mr. Guffey cruelly. "You got very 
pretty hair, Viola — and if a beauty doctor worked on you 
for twenty years you might be a tenth as beautiful as Dora." 

The little ticket seller's mouth worked strangely, then 
leveled into a thin line. 

"Goodbye," she snapped, "and don't wear that cerise and 
green tie when you meet my rival. It might make her eyes 
goggle even worse." 

"Don't take it too hard," admonished the cocky organist. 
"You know she isn't a real rival. I couldn't marry a queen like 
Dora, but I just want to look at her, that's all. Then I'll come 
back, and maybe get engaged to you." 

Viola reached her front gate and edged inside the protection 
of its whitewashed pickets. "Yeah? " she drawled, "aren't \ou 
noble? Well, take care you haven't got a rival yourself, 
dearie," and leaning over, she slapped the callow face of iSIr. 
Guffey until his freckles were swamped in a hectic flush. 

The assaulted gentleman watched her run into the house, 
then he shambled down the street rubbing his stinging cheek. 
"I wonder what she meant by that last crack," he muttered. 
"She's just like all the dames — trying to be cagey and 
mysterious so as to get a guy sore." [ co.xtinued on page 113] 

67 



OurO 



wn 



Photoplay picks its own 
big Hollywood celluloid 
prospects — and gives mere 
men a break. Here are 
the bright girls and boys 
likely to achieve film suc- 
cess in 1929 



JQaby 

Stars 





Anita Page 
Already a hit but over- 
shadowed by Metro 'sdanc- 
ing daughter, Joan Craw- 
ford 




Jeanette Loff 

In *'AnnapoIis" and other 

films. An American Vilma 

Banky 



Barry Norton 

Riding to success since his 

Mother's Boy in "What 

Price Glory" 



Eddie Quillan 

The comedy relief of Cecil 

De Mille's "The Godless 

Girl" 



Nancy Drexel 

The other pretty little 

aerialist in Murnau's 

"Four Devils'* 







Raquel Torres 


Phillips Holmes 


Hugh Allen 


Yola d'Avril 


The tropical charmer of 

"White Shadows of the 

South Seas" 


Taylor Holmes' Princeton 

son makes good in 

"Varsity" 


Here's a real bet. He's the 

lad who ran away with 

**Annapolis" 


The IT girl in the inn of 

"The Awakening." Just 

needs a chance 







Loretta Young 

She's the gal who broke 

Lon's heart in "Laugh, 

Clown, Laugh" 

68 2 



David Rollins 

Several hits, including a 
real one in "The Air 

Circus" 



Jack Stone 

Cousin of Colleen Moore 

and the scared aviator of 

"Lilac Time" 



Sharon Lynn 

The girl who led Conrad 

Nagel astray in "Red 

Wine" 



Diet 

Health 

and 

Beauty 



By 

Dr. H. B.K.Willis 



for 




Dr. H. B. K. Willis is one of the foremost physicians of Los 
Angeles and among his patients are the leading film stars. 
Dr. Willis has made a complete study of diet — the chief prob- 
lem of the stars 



The famous physician will contribute regularly to 
Photoplay and he will answer your personal letters 



DUE to the ever-increasing appeal of diet as a means of 
gaining individual well-being the grand old American 
public, from llapper to philosopher, is eating its way 
into as well as out of health. Food has attained a new 
footing. Time was when feasting instead of fasting was 
fashionable. 

Calorie consciousness is fast supplanting gluttony, but it 
was not so long ago that we were dubbed a nation of gluttons 
by physicians who charged us with digging our graves with our 
teeth. 

But, unfortunately, the pendulum seems to be swinging too 
far in the other direction, because the enthusiasm, which is an 
American characteristic, is leading countless thousands into 
dietetic errors inspired by the mandates of well-meaning but 
misguided food faddists. 

For example, where, a few years ago, Americans were as over- 
starched as Father's dress-shirt, the average individual, accord- 
ing to statistics, is not eating enough sugar today. 

We were once a nation of mighty meat-eaters. Today meat 
is anathema to too many who 

need it. As for fat, the popular 

opinion seems to be that all this 
dietetic necessity is good for is 
the manufacture of soap. 

But nationally we are strong 
for vitamins. One may not 
know what they are but they 
have been publicized as mir- 
acle-workers and the word is 
mouth-filling, even though the 
vitamins themselves may not 
be. 

Ninety-nine per cent of the 
patients who come into my 
office are there in search of a 
diet which will banish pills and 
doctor's bills. 



HAVE you a problem of diet? 
Let Dr. Willis of Photoplay 
be your adviser. Write to him 
in care of Photoplay, 816 Taft 
Building, Hollywood, Calif., and 
be sure to enclose a stamp for 
reply. Dr. Willis will give your 
question his personal attention 



Grandpa wants one to cure his rheumatism. Grandma and 
Mother are equally desirous for one which will convert their 
stylish stouts into svelte sixteen sizes. Dad demands a diet 
which will chase the spots from before his eyes and make high 
blood pressure become a forgotten fear. Sister wants to eat 
to stay thin or gain her a skin someone loves to touch. Brother 
wants a menu which will make halitosis impossible or give him 
a complexion as free from comedones as the face of the collar 
ad model. 

IT is an absolute fact that too many laymen utterly and com- 
pletely believe that diet is the key to health and happiness and 
that therein lies the panacea for all the ills to which the f5esh 
is heir. Unfortunately they are not entirely right, although it is 
fortunate that today the majority eat to live and not live to eat. 
Having the interest of its vast army of readers at heart and 
believing that they will welcome personally conducted dietetic 
excursions. Photoplay adds another innovation to its table of 
contents by giving me the opportunity of expounding my 

beliefs as to safe and sane eat- 
ing, the value of a proper diet 
in health and disease. 

The subject will be handled 
along broad, general lines in 
the articles to be printed, and 
individual cases will be con- 
sidered by the question box 
method and private communi- 
cations to such persons as may 
desire them. 

In many, many cases diet is 
but an adjunct to the adequate 
treatment of disease, and, 
hence, diet will not be upheld 
by the writer as a substitute 
for properly indicated medical 

[ CONTINUED ON PAGE 90 ] 



6.9 



Tour Clothes Ci 




Six years ago Adrian designed this bouffant costume for Lea trice 
Joy. "No woman would wear a gown like that," cried the pro- 
ducers. Today half the evening gowns are a modified version 
of this picturesque robe-de-style 



THE Rue de la Paix or Hollywood 
Boulevard — which? 
Do such famous authorities as 
Patou, Lelong, Molyneux and 
Worth tell you what to wear or have you 
felt the influence of the more unfamiliar 
names of Adrian, Greer, Ree and Banton? 

It is my duty, my good woman, to tell 
you that you are copying fashions worn 
by the screen stars and not those chosen 
by French gals who seem to have nothing 
to do but pose for their pictures at the 
race tracks at Deauville. 

Hollywood is the broadcasting agency 
for fashion! 

Hollywood creates the modes of the 
world ! 

You are wearing photographic clothes! 

Many of the designers go to Paris 
3'early for ideas, but it is only the general 
feeling of line and the new materials that 
they bring back. These are sifted through 
the studio mill and are sent to you at once 
to copy. 

And did you know that many of these 
fads are introduced to hide defects in the 
stars' figures? 

Historians tell us that the side saddle 

70 




Because Greta Garbo has a long 
neck. Max Ree put a ruff on her 
collar in "The Torrent." The wide 
Garbo collar was evolved from this, 
and it is a world-wide fashion 



ome 



How the cre- 

screen influ- 

rectly than 

By 
Lois Shirley 



came into vogue because Queen Elizabeth 
could not ride astride. 

The Garbo collar was created because a 
gauche, awkward Swedish girl had a long 
neck and an unhappy manner of carrying 
her head. 

THE wide strip of material that extends 
directly down the spine of every Mae 
Murray decollette gown is to conceal a 
scar on the erstwhile star's back. 

Tight fitting, hair line skuU caps are 
worn to cover the fact that many stars 
have heads too big for their bodies. 

As the pearl, with its moonlike beauty, 
is caused by an irritation, so many of the 
loveliest lines ever worn by women are an 
effort on the part of the designers to con- 
ceal that which is not beautiful. 

You will never see Florence Vidor who 
is, by popular vote among the fashion 
dictators, the best gowned woman on the 
screen, wearing a brimless hat. Her face 
is long and thin and her jaw broad. 

It is the job of the designer to know his 

star as he knows his scissors and to make 

her the loveliest, most ravishing, most 

beautiful woman possible. For the 

flicker favorites are even as 

you and I, my dear, and 

there are bow legs and broad 

hips in Hollywood although 

the rest of the world never 

guesses it. Clever costuming 

conceals them. 



A RADICAL change has 
come to the screen in 
the last few years. It is due to 
the efforts of such designers 
as Max Ree, Howard Greer, 
Travis Banton, Sophie Wach- 
ner and Gilbert Clark. These 
people have banded together 
to set aside the old school of 
motion picture dressing; to 
make women as smartly 
gowned on the screen as they 
would be in a civilized drawing 
room ; to eliminate the symbol 
of the vamp, a figure-fitting 
black velvet gown with high 
collar, long sleeves and a slit 
to the thigh. They have also 
removed the taboos of the 
camera. 

It used to be that everv- 



^from Hollywood 



ations you see on the 
ence you more di- 
Paris fashions 



body from the office boy to the president had to O. K. a dress. 
Camera men complained of color. White was not admitted on 
the set until Travis Banton gowned Pola Negri in white, a 
color that she loves more than all others, and because Pola 
was a star with authority the camera man had to figure out a 
way of photographing it. 

THE producer still attempts to put his finger in the dress- 
maker's pie, insisting that the star should be gowned in 
"something like my wife wears, this clingy material with 
shiny stuff here." But he invariably discovers the error of his 
ways. 

There is but one thing to consider when you're copying 
screen clothes. Separate in your mind the gowns that are 
made for a character and those that are built for style only. 
I cite Ma,x Ree and the Freudian svmbols that he has 




Adrian may not be as 
well-known to you as 
the Paris authorities. 
But the clothes he de- 
signs for the stars are 
the ones you envy — and 
copy 



Greer's shop in Holly- 
wood is a style center. 
Here the stars order the 
personal wardrobes that 
make them the best- 
dressed women in the 
world 




evolved as an e.xample. In "The Wedding March" 
ZaSu Pitts plays the role of a woman with a suppressed 
desire. Against her own subconscious, her body is 
ruled by her brain. Therefore Ree put her in form- 
fitting gowns with the lines running to her head, and 
set her face, flowerlike, in a collar. In the same pro- 
duction Maud George plays the role of a smart, but 
untidy woman. Ree chose a negligee trimmed with 
unruly feathers, rather than sleek fur, in order to 
establish a character properly. 

This is the film designer's only limitation. 

IT was Ree, by the way, who originated the Garbo 
collar. He gowned the star in her first .American pic- 
ture, "The Torrent," and the fur coat she wore in that 
with the enormous collar was made to conceal her 
long neck and to help her carry her head better. It 
served the same purpose as the head rest used by old- 
fashioned photographers. It was copied throlighout 
the world and even introduced in a Paris opening 
after it had been worn by Garbo! 

In the matter of color the designer is hindered only 
by the star herself. Dorothy Cummings had a fainting 
spell at the sight of agreenfrockmadcforherto wcarin 
a ]iicture. Esther Ralston says, "I know that a light 
will fall on me or the film will catch fire if I apjiear in a 
yellow dress." Yet yellow is most becoming to her. 

Sophie Wachner tells this one on Mary Astor. She 
had an aversion to blue and would not have a frock of 
that shade until one day 
she surprised Miss Wachner 
by requesting a blue dress. 
It was because Kenneth 
Hawks, her fiance at the 
time, now her husband, 
liked it. 

The pioneer in establish- 
ing Hollywood as a style 
center is Peggy Hamil- 
ton. Still in her teens, she 
undertook the costume de- 
partment at the old Triangle 
Studio and dressed Gloria 

[ CONTINUED ON P.\GE 130 J 

71 



Peggy Hamilton, 
pioneer studio de- 
signer, dressed Gloria 
Swanson for her first 
big role. The cos- 
tumes were made 
over from Miss Ham- 
ilton's own frocks. 
Miss Hamilton be- 
lieves in ''show 
styles," as you can 
see by this lace negli- 
gee, trimmed with 
mirrors and ostrich 




speech is 

Some stars who passed 
the voice test and 
made big come-backs 
when the silent drama 
broke into noise 



Lois Wilson, for instance. Lois failed 
to get a break after ending her contract 
with Paramount. The smart girl studied 
voice training and went on the stage in 
Los Angeles, thereby talking herself into 
the talkies 




Antonio Moreno had been doing a quiet fade- 
out until First National discovered that he 
has been suppressing a splendid speaking 
voice all these years. You'll see him again 
in "Synthetic Sin," Colleen Moore's first 
chatter film 



A star who was gone but never forgotten. 
Pauline Frederick left Hollywood, more in 
sorrow than in anger, and toured the 
world. Thanks to the talkies, this beauti- 
ful woman is back on the screen. She made 
a triumphant return in "On Trial," and 
Warner Brothers will present her in a 
whole series of Vitaphone dramas 



72 



Golden 




And Mildred Har- 
ris. Mildred was 
off again, on 
again. Sometimes 
in vaudeville; 
sometimes in a 
quicliie. But Mil- 
dred can sing and 
she can speak 
lines. So she 
made her come- 
back in "Melody 
of Love" 



Remember Bessie Bar- 
riscale? Bessie was once 
a big star, but she left 
the screen for the stage. 
And it was "Goodbye 
Forever." But, in the 
search for movie person- 
alities with voices, Bessie 
was called back to Holly- 
wood and given a part in 
Pathe's "Show Folks" 





Robert Elliott left pic- 
tures years ago to return 
to the stage, because he 
wasn't pretty enough 
for a dumb hero. Now 
he's tearing out swell 
performances for Fox- 
Movietone 



Rescued from vaudeville — Bessie 
Love. Bessie can dance, sing, 
talk and play the uke. Those 
who have seen her in "Broad- 
way Nrelody" say that she is the 
Marilyn Miller of the talkies. 
Very nice for Bessie— and very 
nice for audiences 



73 



Amateur Movies 



By Frederick James Smith 



MOVIE amateurs still 
have two and a half 
months to complete 
their contest films. 

Photoplay's $2,000 contest 
closes definitely at midnight on 
March 31st. There will be no 
extension of the time limit. 

From amateurs in all parts 
of America come reports of 
contest plans. The Flower 
City Amateur jMovie Club of 
Rochester, N. Y., is at work on 
a 400 foot 16 mm. film, bearing 
the working title of "Dead or 
.Alive," for the Photoplay 
contest. The story deals with 
an underworld gang and, for 
the numerous interiors, the 
Flower City Club is attempting 
some new departuresinlighting. 

Work is progressing rapidly 
on the contest contribution of 
the Foto-Cine Productions of 
Stockton, Calif. This is called 
■'Three Episodes." Sundays 
are devoted entirely to produc- 
tion work by the entire club. 

Many other contest films are 
under way. Photoplay's sec- 
ond contest already bears the 
imprint of widespread inter- 
national interest. 




Russell Ervin, Jr., winner of last year's PHOTOPLAY 

contest, is now a Fo.x- Movietone veteran. Here 

he is with Director Marcel Silver 



FEBRU.\RY is a month of outdoor action — a month of 
tobogganing, skiing, skating, snow-shoeing, snowballing, 
ice-boating and similar sports, writes W. A. Shoemanker, editor 
of the Eastman Cine-Kodak News in personally advising 
Photoplay readers. It 
offers untold possibilities 
to the movie maker — pos- 
sibilities that should not 
be overlooked, for these 
sports are at their height 
in February. 

You will take advantage 
of February's outdoor 
action, of course. But be 
careful! February light is 
fickle and unless you are 
careful under-exposure 
may ruin your pictures. 
The light may seem to be 
brighter in February than 
it was in December and 
January, but — photo- 
graphically at least — it 
isn't. The wise movie 
maker will strive to avoid 
under-exposure. Perhaps 
the best way to avoid this 
bug-bear of winter pictures 
is to follow these lighting 
suggestions: 

For sea, sky and snow 
scenes, distant mountains 
and landscapes, or for wide 
expanses of snow, f.ll in 
bright sun, f.8 if clouds 
partially obscure the sun, 
and f.5.6 or f.6.5 if the dav 



is cloudy or dull. For open 
landscapes where there is 
no heavy shade, f.8 in bright 
sun, f.5.6 or f.6.5 if light clouds 
obscure the sun, and f .4 on dull 
or cloudy days. For street 
scenes or groups where part of 
the light is obscured by houses 
or trees, f.5.6 or f.6.5 in bright 
sun, f.4 with light clouds over 
the sun, and f .3.5 on dull days. 
For scenes on shady sides of 
streets, f.4 in bright sun, and 
f.3.S if light clouds partially 
obscure the sun. On dark, dull 
days, such scenes should not 
be attempted with the f.6.Sor 
f.3.5 lens. These scenes are 
easily within the scope of the 
f.1.9 lens, however. 

THE Motion Picture Club of 
New Haven, Conn., closes 
an interesting club competition 
for 16 mm. films on January 
31st. Attractive awards are 
being made for the best scenics, 
pictures of children, trick films, 
current event shots, travel 
views, short narrative produc- 
tions, features and color films. 
Fifty amateurs in Erie, Pa., 
have organized a movie club. 
"The Fast Male," the ama- 
teur production of the Stanford Studios, the movie club of 
Stanford University, had its premiere in the Stanford assembly 
haU at Palo Alto, Calif., on January 9th. 

The Herald Cinema Critics Club of Syracuse, N. Y., is making 
an amateur film, "Touchdown," 
written by Douglas Thompson and the 
winning scenario in a contest open to 
Syracuse high school students. The 
club has the benefit of advice from 
Chester B. Behn, dramatic editor of 
The Syracuse Herald. 

The drama class of the Newport 
News High School of Newport News, 
Va., is starting its 
third amateur photo- 
play. Its first film, 
"Heroes All," landed 
prominently in 
Photoplay's first 
contest. Amateur 

movies are now a defi- 
nite part of the work 
of the drama class. 



THE incandescent 
lights pictured in 
the special Christmas 
tree shots of home 
movie making in the 
January Photoplay 
attracted so many in- 
quiries that we are 
going to tell you ex- 
actly how to make 
these lights yourself. 
[ continued 
on page 100 ] 




Mrs. Coolidge, an amateur movie enthusiast, used a Cine- 
Kodak to film the President on their Virginia vacation 



n 



Photoplay Magazine — Advertising Section 



75 




"I picked it lip at Malta" Mrs, 
helm says oj the embroidery iti 
her frock, a symphony of all the 
gorgeous hues that suit her beauty. 
It was made up after her oivfi 
design, like the highn' ay man's 
coat worn with the Reboux tri- 
come of the larger portrait. 





"It'umen are loveliest in evening 
dress," says Mrs. Iselin. This 
Lanvin creation of antique green 
brocade and silver lace reveals 
the ivory beauty of her neck and 
arms. A magenta girdle and 
green slippers uith magenta 
heels complete her ensemble. 



Mrs. Adrian Iselin 11 is the wije oJ the internationally distinguished 
yachtsman^ Beauty, charm, chic, a merry wit and many brilliant 
talents make her one of the s?nartesi and best-liked women in Netv York. 



A- LOVCLY skin is essential to C/?/o s^ys 
Mcx. Adrian Ixelin ii 



MRS. ISELIN'S BEAUTY recalls 
the gorgeous Renaissance. She has 
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Tall, slender, graceful in every gesture, 
Mrs. Iselin is famous for her chic. 

Color is her hobby. Color can make or 
mar a woman's beauty. For her own 
auburn type she chooses tawny browns 
and tans, yellows and greens. 

" Nowadays to be perfectly groomed is 
all-important," says Mrs. Iselin. "Fas- 
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standby. Now the new Tissues are ex- 
quisite for removing cold cream. The 
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and young. The Vanishing Cream is a 
delightful powder base." 




Mrs. Iselin's dressing Inble with special green 
l^lass gift jars made by Pond's to hold the Two 
Creams and Freshener Jor her daily rlgime. 




In the familiar containers— Pond's four Jamous 
products, Txi-o Creams. Tissues, Freshener, -.ihich 
beautiful women use daily to keep their skin lovely. 
you write to advertisers please mention PHOTOPLAY M.VGAZI.NE. 



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Wipe away the cream with the Cleans- 
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For a bracing effect — the tonic Fresh- 
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Finish with a whisk of Vanishing 
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(Copjgqght, 1929, Pond's Extract Company) 



The Shadow Stage 



[ CONTINUED FROM PAGE 55 ] 



BEHIND THE GERMAN LINES— 
UFA-Paramount 

nPEN years after the holocaust, the Germans 
•'- rush in with their film version of the Great 
War. Excellent war-time shots of rulers and 
battles are offset by a lot of studio stuff that 
doesn't mean much, and the narrative is slowed 
by scores of very clever but over-used maps of 
the fronts. 

A LADY OF CHANCE— M.-G.-M. 

""PHIS is a story of self-sacrifice and regenera- 
■*■ tion. Robert Z. Leonard's direction tops 
each tear with a chuckle. Norma Shearer 
plays Dolly, a golddigger with an angel face and 
a steady nerve, who plays hide-and-seek with 
the law. Shadowed by detectives, she marries 
a trusting country boy, beheving him a million- 
aire. The drama which ensues is fresh and 
original. John Mack Brown is effectively 
natural and Lowell Sherman is at his best. 

UNEASY MONEY— Fox-Europa 

npHE newest novelty from Germany takes a 
•*■ 10-mark bank note on its travels through 
thi.'; vale of jeers. It begins in the pay envelope 
of our own blonde Wary Nolan, and travels 
from the castle to tlie gutter and back again. 
We leave the 10 marks long enough to follow 
Mary through a virginal love affair, the maul- 
ing hands of perspiring papas, and to happiness 
at last. Mary's work is better than anything 
she has done in Hollywood. This is at least a 
different picture, well directed and acted. 
Take a look if it comes to your Little Theatre. 

MARQUIS PREFERRED— Paramount 

■XyTENJOU fans can cheer over this one. 
•'■ '-"-Adolphe is a sophisticated and charming 
Marquis deluged with debts. His tastes in 
Uquor and women are discriminating. There 
are two women — an American heiress and her 
companion. Does he marry the heiress? And 
how! Then he presents his debts to her father, 
his title to the heiress and his love to her com- 
panion. He gets a job and a divorce and mar- 
ries the companion. Frothy, amusing. 

MATA HARI: THE RED DANCER— 

National-Big Three Production 

' I 'HIS is a German-made film with nothing to 
-'- merit its importation. The story is tedious 
and disjointed but, in the confusion of detail, 
we gather that the dancer, Mula Hari, was an 
international spy who mi.xed her politics and 
men so unwisely as to have her lover thrown 
in prison and herself executed. 

TYRANT OF RED GULCH— FBO 

TpHERE'S nothing Western about this one 
■*• but the title. And perhaps Tom Tyler's 
pants. That's grand! The less Western a 
Western is, the better we like it. In a worthy 
effort to be original, the writer threw in two 
mystery men, a small boy, a flock of Russians, 
and an idiot. A badly bent story. 

SEVEN FOOTPRINTS TO SATAN— 
First National 

"Y^OU won't get very excited over this so- 
-'■ called mystery story because you feel down 
underneath that it will turn out to be a dream. 
The denouement is not quite as bad as that — 
but almost. There are gorillas and dwarfs and 
weird characters who strut through the pic- 
ture ineffectually. Thelma Todd manages to 
look both beautiful and frightened while 
Creighton Hale makes his knees stutter. It's 
a hodge podge. 

76 



BLACK BIRDS OF FIJI— Australasian THE HOUSE OF SHAME— Chesterfield 

A NOTHER South Sea Island picture made 
■''•in the land of missionaries, head hunters 
and half-castes. Edith Roberts is again the 
island girl but this time she wins her man when 
it is discovered that she isn't a halt-breed after 
all. Edmund Burns persists in being the hero. 

THE VEILED WOMAN— Fox 

"KJOT good, not bad; the most interesting 
•'-^ feature being its array of foreign faces, 
which includes Lia Tora, a Brazilian dancer; 
Paul \'incenti, a Hungarian, and Ivan Lebe- 
deff, a Russian. The captivating Lia's hus- 




International Newsreel 

Camilla Horn's new head-dress — 
three crullers, rampant, over the 
ear. The top of the hair is worn 
slick and smooth and the effect is 
that of the "buns" of hair worn 
by little girls ages and ages ago 



band wrote the script but he didn't do right by 
the "little woman," for it's a trite tale. A 
coiffure model becomes a lure in a gambling 
house all for love of an invalid father. 

WHAT A NIGHT— Paramount 

A NOTHER newspaper story, much more 
-*»-gaggy than the others have been. Bebe 
Daniels plays the role of a dumb cub reporter 
who succeeds, of course, in getting the big 
scoop. This is poor material, badly strung 
together. Bebe Daniels, herself, seemed to 
feel the inferiority of the script. 

THE NAUGHTY DUCHESS— 
Tiffany-Stahl 

•T^HE title pleasantly suggests sophisticated 
■*■ French farce but, despite an intriguing 
opening, this picture turns out to be neither 
sophisticated nor farcical. Eve Southern's 
lumbering efforts to be naughty offer an unin- 
tentional contrast to the polished smoothness 
of H. B. Warner's interpretation of a chiv- 
alrous duke who lends the lady his illustrious 
name for a few hours. Gertrude Astor, as his 
jilted fiancee, is more effective in two scenes 
than Southern in five reels. 



A "FOUR-SQUARE" marriage muddle, 
-* »■ done with surprising cleverness. An un- 
usually modern finish gives a happy jolt to 
what could easily ha\-e been just a snivelling tale 
of a too-devoted wife who made the supreme 
sacrifice to save her embezzling husband from 
jail. Virginia Brown Faire has her most 
effective role in ages, and Lloyd Whitlock is 
wholly pleasing as the "hero of the piece." 

WAGES OF CONSCIENCE— Superlative 

A FTER you sit through five reels of old- 
-' Mashioned, maudhn melodrama of a soul 
struggle (assuming, of course, that you are 
curious about the wages of conscience), all that 
rewards your vigil are a few Biblical quotations 
and a misspent e\'ening. Talk about con- 
science! If the perpetrators of this mistake- 
about-town don't have a good, rousing attack 
of conscience, then — there ain't no justice. 

THE PACE THAT KILLS— 
True-Life 

TF you don't walk out on the sermon-length 
-'■opening title, you can probably stand the 
rest of it. It's hot propaganda against the 
narcotic evil, authentic to the point of gro- 
tesqueness, and a scientific treatise for lecture 
rooms, not amusement houses. A dumb 
country boy goes the dope route with a flapper 
"snowbird" in the city. Not the least bit 
entertaining. 

LINDA— Mrs. Wallace Reid Production 

npHIS story of a mountain gal who marries 
•'•a man old enough to be her "pappy" is 
unadulterated hokum. Don't waste your time 
on it unless you like maudlin sentimentality. 
Even such old favorites as Noah Beery, War- 
ner Baxter, Kate Price and Mitchell Le^ds 
can't put it over. 

THE SILENT SENTINEL— Chesterfield 

npHIS, boys and girls, is a crook picture! 
-'■ And the producers have overworked the 
theory that no modern movie is complete 
without a crook. This dry bank robbery melo- 
drama is full of crooks. We Hke our crooks 
either lusty knock-down drag-out, like Mr. 
Bancroft, or "suave" underworld sophisticates 
like, for instance, Bill Powell. But if you 
don't, that's your business. 

TRACKED— FBO 

A GORGEOUS dog picture which does not 
once tax the credulity of the audience. 
It's full of thrilling, logical action based on a 
. natural story. Two rival sheepmen discover 
that their flocks are slowly being slaughtered. 
The region's finest sheep dog is suspected, but 
finally proves his innocence by leading the 
herders to the real killer. It is a perfect vehicle 
for His Prussian Highness, Ranger, who is 
probably the screen's most intelligent German 
Shepherd. 

THE LAST WARNING— Universal 

THIS could have been a gorgeous mystery 
story, but it's an ob\aous cross between 
" The Phantom of theOpera " and " TheTerror, " 
with none of their consistency or power. It 
has a distinguished cast, with massive sets and 
effective, futuristic photography, but there's 
no story. The title writer has to explain a 
thousand irrelevancies in the last reel. Laura 
La Plante, however, handles the heavy dramat- 
ic role amazingly well, even with no script to 
guide her. 

[ CONTINUED ON PAGE 103 ] 



Photoplay Magazine — Advertising Section 



n 



/ 




N "Chicago" or Hollywood, radiant 
Phyllis Haver finds a source of sparkling eyes 
and boundless buoyancy in 

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Even the method of fitting the Arch Preserver 
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system of measuring provides the custom- 
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Miss Haver and every well-dressed woman. 

THE SELBY SHOE COMPANY 
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fc 




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When you vnlte to advertisers please mention PHOTOPLAT MAQAZINXL 



The Studio Murder Mystery 



[ CONTINUED FROM PAGE 41 



may be occupied with false trails! And now 
for the happenings in the coroner's room this 
morning! Picture two young people — one a 
beautiful French girl, the other a handsome 
American lad — each sitting in opposite sides of 
the room. Dark, tragic eyes meeting dark 
tragic eyes . . . pale lips murmuring sound- 
lessly to pale lips across the space. ..." 

WILLIAM WEST and Yvonne Beaumont. 
West under guard. Beaumont accom- 
panied by her lawyer. 

The coroner was completing his questioning, 
having taken the testimony of MacDougal, 
Lannigan, and Jimmy Cairns, the office boy. 
He had come to the confession of William West. 
The lovely actress leaned forward, her great 
eyes dilating . . . for . . . what was being 
said? That the blood on the stage, flowing 
from Hardell's heart, and the blood found on 
the bottom of West's shoe, which he admits 
havang worn the night before, when he went to 
the lot to get his script book . . . were the 
same! A sob came from the lovely throat of 
Miss Beaumont, and her little white hands 
fluttered to her heart. Then, when it seemed 
she would swoon, she had suddenly risen from 
her seat, and her light clear voice broke 
through the stillness. 

"Ladies . . . gentlemen . . . will you hear 
me? I have . . . sometheeng to tell you! 
Sometheengyou will not, at first, believe. . . . 
But I will make you see it! First, I tell you 
that I have had ze . . . what you call . . . 
affair, wiz Mr. Hardell!" At this point the 
beautiful girl raised her head and looked 
bravely at her audience. "I will tell you, also, 
it was only what you call ze . . . flirt . . . 
wiz me. Me, I did not loff heem . . . nonl I 
am . . . French ... I am . . . ze flirt, oiii! 
I play wiz heem. For why? Because when 
first I come to this contrai . . . two years ago 
... I learn zat he eez one veree bad man ! . . . 
He break all the hearts of ze pretty ladies ! Me, 
Yvonne, I say to myself, 'I will do zat same to 
heem, zat will be fun!' But I do not know 
how weecked he is! Pretty soon I am afraid! 
He follow me! He make me scare! He come 



to my apartment in ze night, and I will not 
open ze door, and he stand outside and say 
terrible sings to me! Zen . . ." she clasped 
her hands, and her eyes went to William West 
across the room . . . her lovely little face 
flushed and softened. . . . "Zen, I find I am 
... in loff! For ze first time in my Hfe, I am 
in loff! I tremble wiz fright that my Billee find 
out about what you call 'affair' wiz Hardell!" 
Everyone in the room turned to look at William 
West, who sat clenching his hands, and looking 
with all the pleading of his heart at the brave 
girl who was giving her secret to the world! 

"Zen Hardell, he say he has kept some silly 
letters I have written heem. He say he will 
show them to Billee! I am . . . wild! I cry, 
I beg, I get mad! He only laugh! I have tell 
Billee I have nevair before loffed a man! He 
have believe me! You comprehend, good 
people, what I feel? Zen, that night I go out to 
the studio to get ze letters. Hardell say he 
carry them always wiz heem! I write ze note, 
and go down to pin it to his dressing table, zen 
to steal my letters, and to go away! But I 
cannot find zem ! Zay are not zere! I wait for 
ze lights to go out on ze stage, and for him to 
come back to change his clothes. But ... he 
does not come! I wait and wait! Tomorrow 
he say he will show ze letters to Billee! Zen, I 
go to the stage. I am afraid for Mr. Seibert to 
see me. He is veree cross to be disturbed. I 
hide in ze bushes until zay go away! And . . . 
D wight Hardell does not go to his room ! Non I 
He goes away wiz Mr. Seibert. I know, be- 
cause I hear heem talking together! I am 
afraid to look, but I hear. . . . Zen I am 
afraid to leave, because I see Billee coming! 
He goes on the stage, and pretty soon he comes 
out and goes away. Zen . . . what do you 
sink? I see that Hardell coming back. What 
for? Me, I do not know! I only see heem 
coming back! I get up and go quietly . . . 
quietly . . . after heem! I find heem on the 
set, practicing to fall . . . but I weel explain! 
When we take ze dissoh'e from ze dummy to ze 
same place . . . comprehend? Mr. Hardell 
had to fall, when he is killed by ze duel, inside 
some lines made wiz chalk, where afterwards. 



zay will put ze dummy! Ze day before he was 
— before I . . . before he was found murdered, 
Mr. Seibert take many, many times zat scene, 
but it does not suit heem ! So, zay come back 
zat night to rehearse! Zay will take it over 
again ze next day! Hardell, he tell me he come 
back to practice zat fall by heemself. I find 
heem doing it. I say, 'I have come for my 
letters!' He laugh! I tell heem, over and 
over, how much I loff Billee! He laugh! And 
zen . . ." for a moment her eyes dropped, and 
she put both white hands to her cheeks . . . 
"zen ... he forget heemself! He make . . . 
ze bad love to me! I . . . run . . . but he is 
too strong! He catch me! I fight! I bite! I 
keeck! He tell me he ... he tell me zat to- 
morrow I will be glad to say I marry heem!" 
Once again the brave little head was flung up, 
and the great dark eyes swept the room. There 
were murmurs of sympathy, and low-voiced 
e.xpressions from the men in the audience. 

"Ah . . . good people ... it ees zen that 
Yvonne . . . becomes . . . a murderess!" 
She swayed. Her lawyer put out a hand to 
steady her. Her voice, coming through sobs, 
cut into the hearts of her listeners. . . . 

I MANAGE to get away for ze instant. I find 
ze other sword ! I . . . prepare to defend my- 
self. ... I tell heem I will keel heem . . . 
but he laugh! He theenks I cannot do eet . . . 
but . . . see ..." and she held out her small 
white wrist ... "I have learned to fence in 
Paris. Feel . . . M'sieur . . ." and she bent 
to the man nearest her. "Is my wrist not 
strong? Otii! You comprehend? Ah . . . 
always I have been so proud of ze fencing! But 
... no more . . . you comprehend, good 
people? I . . . keel him!" She slipped un- 
conscious into the arms of her lawyer. 

On the heels of this breath-taking confession, 
when people were still wiping their eyes, and 
solicitous hands were tending the lo\'ely form 
. . . when analytical minds were expressing 
the opinion that Hardell must have subcon- 
sciously assumed the death position he had 
been practicing for so long . . . when others 

[ CONTINUED ON PAGE 122 ] 



Rules for Studio Murder Mystery Solutions 

1. Nineteen prizes, totalling $3,000, are offered for They must be typewritten on one side of a sheet of paper 
the best solutions to the thrilling serial, "The Studio and contestant's name and address must be typed on 
Murder Mystery. " This story will appear in Photoplay the upper left hand corner. 

in eight installments. The first installment appeared in the 4 -^he nineteen prizes will be awarded as follows: 

October, 1928, issue and the concluding mstailment wul First Prize $1 000 

appear in the May, 1929, issue, .\fter the appearance Second Prize .............. /^ 500 

of the March, 1929, number, on February 15th, 1929, Third prize ^ ^y. ............ . 350 

solutions to the mystery may be submitted but not Fourth prize. ................ 150 

before that date. All solutions must be received by Five prizes of $100. .!.'.!... . 500 

Photoplay before midnight of March 10th, 1929, to re- -pgjj prizes of $50 ; . 500 

ceive consideration. The final installments of "The Studio 

Murder Mystery," printed in the April, 1929, and May, In the event that two or more contestants tie for 

1929, issues, will solve the mystery. The full list of any award, duplicate prizes will go to each contestant. 

winners will be announced as soon after the close of the 5 \\\ solutions must be addressed to The Studio 

contest as possible. Murder Mystery Editor, Photoplay, 221 West 57th 

2. .Awards will be made according to the accuracy of Street, New York, N. Y. 

contestants in foretelling the real solution to "The Studio g jsj^ solutions will be returned to contestants. No 

Murder Mystery" as worked out by the authors, the inquiries regarding this contest will be answered. Failure 

Edingtons. Literary merit will not count. The awards ^Q f^ij^n g^^g^y rule will invalidate vour solution. The 

will be made wholly upon the detective ability of con- contest is open to evervone e.xxept emplovees of Photo- 

testants in working out the mystery, explaining how the p^^Y and members of their families. It is not necessary 

crime was committed, giving the reasons and naming ^^ [^g ^j subscriber or even a purchaser of a single copy 

the real murderer. of Photoplay. You can consult copies in public 

3. Solutions must be written in 200 words or less, libraries, it you wish. 



78 



There s more toWtsking the Face 
than maivy women think 



Unless you actually cleanse the skin 
of powder, rouge, dirt and impuri- 
ties, your complexion will suffer 
seriously. Olive oil, as you use it in 
this facial soap, is the ideal means 
of removing dirt and make-up. 



THE next time you wash your face, con- 
sider these facts; all day long dust and 
dirt, oil secretions, and dead skin gather in 
the fine pores that make up your surface 
complexion. If you add cream, powder, 
rouge — and only half remove them by in- 
correct cleansing methods — the result is 
blackheads, pimples, oiliness, sallowness — 
dozens of defects that may entirely be 
avoided if you know how to wash your face. 

The value ofoltre oil in soap 

How to wash your face! That sounds so 
simple. Yet it can be an art. It can make or 
mar your beauty. That is why doctors and 
beauty specialists advise a soap blended of 
olive oil— blandest, gentlest, yet most pen- 
etrating of all emollients. 

You use it twice a day, in the treatments 
described below, and this is what happens: 
the olive oil works into your pores and 
gently, easily frees them of tiny, hard masses 
which otherwise become blackheads and 
pimples. It keeps the skin firm, stimulated, 
healthy with color. It leaves a satiny glow, 
an enviable smoothness of texture that typi- 
fies youth. 

You, yourself, may be abusing a naturally 
beautiful complexion by the wrong cleans- 
ing methods. Just as a test, use these simple 
treatments beginning tonight, and watch the 
way your skin responds within a short time. 
There is no doubt that your own loveliness 
will surprise you. 



4217 



ReiailPme 

lOc 





At night: 

Make a rich lather of PalmoHve 
Soap and warm water. With both 
hands, apply it to face and throat, 
massaging gently with an upward 
and outward motion, to stimulate 
circulation. Rinse thoroughly with 
warm water graduated to cold un- 
til you actually feel all impurities, 
oil secretions and make-up carried 
away. Then dry the skin by pat- 
ting ir tenderly with a soft towel. 






\ 



'm. 



PALMOLIVE RADIO HOUR -Broadcast every Wednesday night- 
time; 8:30 to 9:30 p m., central time — over WEAF and 32 
The National Broadcasting Company 



In the morning: 

Repeat this treatment and add a 
touch of finishing cream before 
putting on rouge and powder. 
That's all! A simple treatment, but 
it must be observed twice every 
day to keep the skin lovely and 
youthful. At 10c Palmolive is the 
world's least expensive beauty for- 
mula. It costs so little, millions use 
it for the bath as well. Colgate- 
Palmolive-Peet Co., Chicago, 111. 



from 9:30 to 10:30 p m., eastern 
stations associated with 



KEEP THAT SCHOOLGIRL COMPLEXION 




enyon s cot 



DORIS Kenyon knows how well 
color expresses personality. 
So she chose Lady Pepperell 
sheets of peach, as a perfect color- 
keynote for her personality bed- 
room — they're an enchanting back- 
ground for her honeybrown hair 
and soft gray eyes. 



Pepperell Manufacturing Company 
l6o State St., Boston, Mass. 
Plcaae send me the new booklet, "Personality 
Bedrooms." 1 am enclosing one dime — ten 
cents' worth of stamps (Canada: twenty cents). 

MatTK* , 



Town and State 



V.z-zt) 



PERSONALITY 



ITS KEYNOTE IS 

COLORED 

1PE1PIP1E1RE1L1L 

SHEETS atui PILLOW^ CASES 

Radio talks on Bedroom Decoration . . . National Home Hour every 
Wednesday loa.m. . . Eastern Standard Time . . . WEAF network. 



You can make your bedroom ex- 
press your personality, easily and 
inexpensively, by using Lady Pep- 
perell sheets of the becoming color 
that best expresses you — precisely 
as you express yourself in choosing 
becoming clothes. 

In her own laboratories, Lady 
Pepperell scientifically dyes into 
her famous firmly-woven white 
sheets lasting shades of Nile, Maize, 
Blue, Rose, Shell Pink, Orchid and 
Peach— all soft, and all "tub-proof." 

Send IOC for the fascinating new 
booklet, "Personality Bedrooms." 
It suggests dozens of workable plans 
for bedroom decoration, and shows 
what colors are most becoming to 
your type. 



What Are Your Correct Colors? 



I CONTINUED FROM PAGE 43 ] 



White and light colors reflect light, there- 
fore they do not lessen the personal col- 
oring of the wearer. Dead white, howe\er, 
is trying because it makes the skin seem yellow 
by contrast. Pale warm tones — those tints 
known as off-white — reflect their warmth in the 
face. Soft rose color gives a soft glow to the face. 

M.\>ry women must combat the handicap of 
a yellow skin. These women should studi- 
ously avoid harsh blues, particularly if their skin 
is dark. Brilliant blues throw their comple- 
mentary color, yellow, into surrounding sur- 
faces. So, if you must wear the gayer blues, 
keep them away from your face. Break the 
coloring with a coUar or scarf of a light soft 
color, a string of pearls or other white beads, 
a fur of dark or neutral color. 

While vivid yellow increases the color tones 
in the skin by reflection, 
orange and red-orange tend 
to lighten the skin and are 
particularly suitable to the 
woman whose skin is dark 
rather than actually j'ellow. 
Yellow-green and green and 
blue-greens also can be safely 
recommended to the woman 
who has what is generally 
called a "muddy" com- 
plexion. 

I haven't spoken as yet of 
the colors that should har- 
monize with the hair and 
eyes, although most women 
usually dress for these fea- 
tures. In my opinion, the 
pigmentation of the skin 
should be the first consider- 
ation. However, the women 
with e.xceptionall)' beautiful 
hair or unusually lovely eyes 
should make the most of 
these good points. The 
majority of women howe\'er 
will find it best to consider 
the skin first. 

Now for a careful study 
of your hair. Hair is usually 
called blonde, red, brown or 
black. But upon close in- 
spection, you will find these 
classifications inaccurate. 



BLONDE hair is usually 
yellow, sometimes defi- 
nitely yellow-orange, some- 
times a duller, grayer tone, 
and sometimes even assum- 
ing a yellow-green cast. 

So-called red-haired 
women do not have hair 
that is actually red, but 
really red-orange. 

Brown-haired persons 
also have red-orange hair, 
but so neutralized and sub- 
dued, that it appears brown. 

And black-haired people 
are not really black-haired 
at all. It is red-orange, so 
dark that it is called black. 
But, in a strong light, you 
will see copper shades even 
in the darkest hair. Some- 
times seemingly black hair 
will be actually blue-black, 
having a cool rather than a 
warm coloring. 

The color of the hair may 
be made to appear brighter 
if colors opposite or com- 
plementary are worn. Blonde 
hair will become more golden 



in contrast to blues in the costume. Hair with 
orange hues will be more brilliant when cool 
colors — greens, blue violets, blues or blue- 
greens — are used. 

Bright colors, similar to those in the hair, 
make it seem faded and dull by contrast. 
Bright orange wiU make blond hair seem pale 
and lifeless. Brown hair loses character when 
darker, more reddish browns are worn. Kven 
bright so-called red hair may appear faded in 
contrast to vivid warm colors, although it 
usually clashes and takes on a cheap, artificial 
look. 

Select colors which are duller and less warm 
than the tints in your hair. 

Persons with warm, rich brown hair may 
bring out the golden-red tints by wearing 
lighter, duller browns. If the hair is dull or 
rather grayed in coloring, neutral colors or 






:Wi 



^Sw 



m^ 



four 



HERE are tour types 
screen beauties that repre- 
sent the four types of 
feminine coloring. Raquel 
Torres, brunette; Esther Ral- 
ston, blonde; Janet Gaynor, 
brown hair; Joan Crawford, 
auburn. Every woman is a 
variation of one of these color- 
ings. By finding the colors that 
best suit your type and by 
choosing a harmonious back- 
ground for yourself in your 
clothes and in your home, 
you will establish a happier 
emotional environment as 
well as making the most of 
your appearance. 

Do you kno\v that your hair 
becomes brighter if contrasted 
with an opposite or comple- 
mentary color? Do you know 
that the correct shade of green 
will improve a yellow com- 
plexion? Do you know that 
small areas of vivid coloring — 
in jewelry, ornamients or trim- 
ming — vastly increase the col- 
or and depth of your eyes? 

Every month PHOTOPLAY 
receives thousands of letters 
asking "What is my most be- 
coming color?" These articles 
and color charts are the answer 
to the earnest inquiries of 
women who want to look their 
best in their clothes and who 
want to bring harmony and 
charm to their personal sur- 
roundings- 



colors similar to the hair should be avoided. 
Light yellow or light brown hair appears to 
poor advantage when placed near a tan that 
closely matches it. 

The eyes should usually be the last point 
considered, for the skin and hair arc much more 
important in the larger view one person re- 
ceives when looking at another. 

"p YES of the so-called blondes are usually cool 
■'—'in color, violet, blue, blue-green, green or 
gray, while those of the brunette are most fre- 
quently, warm, brown (dark red-orange). Hazel 
eyes, predominantly warm, seem to combine 
flecks of both warm and cool colors, apparently 
changing color according to the colors worn 
near them. 

The liquid depths of the eye act as a mirror 
which catches and reflects light. The color of 
the eyes therefore may be 
greatly intensified if a color 
similar to them is worn near 
the face. Gray eyes may 
become blue, green or violet 
according to the colors sur- 
rounding them. Brown eyes 
may appear dark, even 
black, when dark colors arc 
^vorn; golden when yellow 
and orange tones are near 
them. 

Small areas of vivid color 
effectively deepen the color 
of the eyes but large areas of 
color should be softer, other- 
\vi5e the eyes will appear 
dull and faded by contrast. 
Complementary colors may 
also increase the color of the 
eyes. Yellow, orange, red- 
orange and red may increase 
the color of cool hued eyes 
while cool colors tend to 
emphasize the warmth of 
brown eyes. 

These in general are the 
rules for color harmony. 
Now I shall go into detail 
about the colors for bru- 
nettes. 



of 



TTI lERE are brunettes and 
-'■ brunettes, almost as 
many variations as there are 
individuals. Some possess 
%ivid brilliant warm color- 
ing; some subdued warmth, 
a more olive skin; others 
have the characteristic dark 
hair but a fair skin with de- 
cidedly cool feeling. The 
actual hue of the flesh tints 
in the first two types are 
wariu, red-orange, while 
that of the last is red-violet. 
The first two ha\e warm, if 
dark and subdued red- 
orange tints in their hair, 
the last has blue-black hair. 
Therefore, be not content 
to call yourself a brunette, 
analyze your coloring! De- 
termine whether you are a 
dark warm type or a dark 
cool t)pe. If your skin is 
warm, is it vividly , x'ibrantly 
glowing with color, or docs 
it possess a more subtle, sub- 
<iued olive tone? Having 
determined what your type 
is, study the color require- 
ments for that tjpe, mean- 
while analyzing yourself, 

[ CONTINUED ON P.^CE 106 | 

81 



Gossip of All the Studios 



[ CONTINUED FROM PAGE 49 ] 



DON'T try to steal scenes from Billy 
Haines! 
The other day on the set, Eddie Nugent 
quite out-mugged Billy. When they moved 
into a close-up, Billy stood on the younger 
actor's foot. The pained expression had no 
part in the action required. 

pLENN TRYON and a friend 
^^-'were returning from Tia Juana 
and were forced to go through the 
usual procedure of walking the 
chalk line. 

The inspection officer looked at 
Glenn who made a brave effort to 
walk a straight line. 

"You can't walk very well, can 
you?" said the inspection officer. 

"No," said Glenn, "that's why 
I brought my car." 

(^ORNEUU.S VANDERBILT, JR., the 
^^-'poor little rich boy who lost his bankroll 
trying to be a journalist, is out in Hollywood 
and says he's going to write stories for the 
screen. 

Cheer up, this hardy industry has weath- 
ered worse blows than that. 

A L JOLSON has been frantically search- 
■'••ing for a story to live up to the standard 
set by "The Jazz Singer" and "The Singing 
Fool." 

Recently he took his bride and went to 
Lake Arrowhead to think! It appears that 
he got a thought and he was so overjoyed 
that he could not resist the temptation of 
telling it to whatever audience presented 
itself. The audience was Joe Schenck. He 
outlined a perfect story and did not realize 
until after he had completed it, that he had 
told a grand yarn to a rival producer. 




P. &A. 



Aeroplane view of the Mecca of all California tourists, "Pickfair," 
the estate of Mary Pickford and Douglas Fairbanks. The swim- 
ming pool is in the foreground. This picture was taken on a 
day when there were no crowned heads playing croquet on the 

front lawn 




Just a shack, but it's home to Charlie Chaplin. Chaplin's estate in Beverly 

Hills adjoins "Pickfair." The oddly shaped stretch of lawn is a miniature golf 

course which leads down to the inevitable swimming pool and bath-house. 

Hey, Charlie! Two fellows are walking on your grass! 



ON "Four Feathers" set 
the other day Dick Arlen 
was called upon to make what 
is technically known as "hot 
love" to Fay Wray. It was a 
tough spot for Dick, con- 
sidering the fact that Fay's 
husband, John Monk Saun- 
ders, was standing by. 

When the scene was over 
John said to Dick, "Never 
mind, I'll get even with you. 
I'm writing the talking se- 
quences for your ne.xt picture 
and all you'll say is ' Unhuh' 
and'Nunhuh.' " 

THERE was a time — way 
back B. T. (before talk- 
ies) — when you'd walk on a 
set and discover Wally Beery 
in his chair snoring melodi- 
ously. An actress would be 
reading the latest thriller and 
the extra people w'ould be 
playing cut-throat bridge. 

!\'ow all is changed. The 
day of hard work is at hand. 
The speakies have introduced 
a ghastly activity. Scenes 
are made one right after 
another. I saw a whole short 
subject taken in two hours 
and a half at Warners' the 
other day. The actors pace 
up and down repeating their 
lines, vaudevillians bestir 
themselves at unearthly 
hours and directors walk 

[ CONTINUED ON PAGE 86 ] 



Photoplay Magazine — Advertising Section 83 

Liqhta Luck tf 
andyotillneverniiss sweets 
that make you £a€ 



qJ^ 




Instead of eating between meals . . . 
instead of fattening sweets... beau- 
tiful women keep youthful slender- 
ness thesedays by smoking Luckies. 
The smartest and loveliest women 
of the modern stage take thismeans 
of keeping slender . . . when others 
nibble fattening sweets, they light 
a Lucky! 

Lucky Strike is a delightful blend 
of the world's finest tobaccos.These 
tobaccos are toasted — a costly extra 
process which develops and im- 
proves the flavor.That's why Luckies 
are a delightful alternative for fat- 
tening sweets. That's why there's 
real health in Lucky Strike. That's 
why folks say: "It's good to smoke 
Luckies. " 

For years this has been no secret 
to those men who keep fit and trim. 
They know that Luckies do not cut 
their wind nor harm their physical 
condition. They know that Lucky 
Strike is the favorite cigarette of 
many prominent athletes.who must 
keep in good shape. They respect 
the opinions of 20,679 physicians 
who maintain that Luckies are less 
irritating to the throat than other 
cigarettes. 

A reasonable proportion of sugar in 
the diet is recommended, but the 
authorities are overwhelming that 
too many fattening sweets are 
harmful and that too many such are 
eaten by the American people. So, 
for moderation's sake we say: — 

"REACH FOR A LUCKY 



Constance Talmadge^ 

Charming Mottoa 
Picture Stat 



«« 



INSTEAD OF A SWEET." 

It's toasted 

No Throat Irritation - No Cough. 

) 1929, The American Tobacco Co., Manufacturers 




Constance Talmadge, 



ReacFi jov a 

Lucky instead 

of a sweet. 



When you Hrito lo aJuTtUers iiloasc nirntlou pnoTOPLAT MAGAZINE. 



84 



Photoplay Magazine — Advertising Section 



Joan Crawford, fascinat- 
ing Metro -Goldwyn- Mayer 
star, finds Lux Toilet Soap 
delightful both in this lovely 
bathroom and in her special 
dressing room on location. 

7 HAVE tried innumerable 
French soaps, but never 
have I found anything like 
Lux Toilet Soap for keeping 
myskinfreshandsmooth.And 
'studio skin is the all- im- 
portant asset for the star who 
must face into the glaring 
lights of the close-up." 




When a close-up is being taken, Joan 
Crawford meets the brilliancy of the 
newincandescent "sun-spot "llghtswith 
perfect self-confidence — because her 
skin is k^pt beautifully smooth with 
Lux Toilet Soap. 



"Without smooth skin no girl 

can be lovely^ ' ' say 
39 leading Hollywood Directors 

VELVETY SKIN is the most precious charm 
a girl can have. All Hollywood agrees on this. 
"People open their hearts instantly to the love- 
liness of exquisite skin. Every star knows how 
essential beautiful smooth skin is," says Edward 
Sedgwick, Metro-Goldwyn-Mayer, voicing the 
opinion of leading directors. 

Lux To i 1 e t 



Every advertisement In PHOTOPT-AT MAGAZINE Is suaianteed. 



Photoplay Magazine — Advektising Section 



85 



Lacing the 



cnielest test a skin can meet 



How WELL they know that the 
skin must be kept rarely smooth 
— the lovely girls whose beauty stirs 
a million hearts every time they ap- 
pear on the screen! 

For there is something about lovely 
skin that sends a ripple of emotion 
through every heart. And for the 
screen star, skin as smooth as a 
flower-petal is a prime necessity. 

The huge new incandescent "sun- 
spot" lights pour down on a star's 



9 out of 10 
screen stars use Lux Toilet Soap 

face and shoulders and arms when a 
close-up is being taken, and film 
more highly sensitized than ever 
would inevitably register every tini- 
est flaw in the skin texture. 

Consequently, of the 451 impor- 
tant actresses in Hollywood, includ- 
ing all stars, 442 depend on Lux 
Toilet Soap to guard their skin. The 




by E. Fryer. Htjilywood 



Louise Fazenda. Warner Brothers' star, in the Hollywood bathroom 
which sets off her charm so well. " I used to use the fine French soaps but 
now I find that Lux Toilet Soap gives the same beautiful smoothness to 
my skin. I am devoted to it." 



next time you see your favorite screen 
star in a close-up, remember that 9 
out of 10 screen stars keep their skin 
captivatingly smooth with this de- 
lightful soap. It is made by the 
famous French method. 

And all the great film studios have 
made it the official soap for all dress- 
ing rooms. 

If you haven't discovered for your- 
self how wonderfully smooth this 
white, daintily fragrant soap keeps 
your skm, try it today. Use it for the 
bath and the shampoo. It lathers 
so generously, even in hard water! 




KvELVN Brent, popular Paramount 
star, says: "A star must have a smooth 
skin. Lux Toilet Soap is so very pleas- 
ing and soothing." 



Soap 



Luxury such as you have found only in French soaps 
at SQ( and $\.00 the cake— now 

When you write to advertisers please fuentlon PHOTOPLAY MAGAZINE. 



10 



Gossip of All the Studios 



[ CONTINUED FROM PAGE 82 1 



about with troubled frowns upon their ex- 
ecutive brows. 

The industry is once again in its infancy. 
Nobody knows what the talkies are about. 
Hollywood is besieged by Broadway smart 
boys, who are writing bright dialogue. 

Now Monta Bell's bright girls and boys 
Are making Eastern films with noise, 
And Famous Players spreads around 
"All Pictures with Long Island Sound." 

THE other day Tom Moore had an idle 
moment between scenes of "The Yellow 
Back," when a very enthusiastic gentleman 
slapped him on the back and shouted, "Well, 
weU, well, hello, Matt, old feUow, how are you? 
You're looking well. Glad to see you again." 

"But I'm not Matt," the most famous 
Moore said, "I'm Tom." 

"Oh, that's all right," the gentleman con- 
tinued, "don't feel badly, old fellow. It's 
reaUy quite all right. One Moore is just as 
good as another. How are you? You're look- 
ing well. Glad to see you." 

THE ambulance siren shrilled 
down HoUjrwood Boulevard. Vil- 
lagers ran out on the streets. "Don't 
be alarmed," said Billy Haines, 
"somebody coughed in a talkie 
scene and the director shot him." 



"LJOLLYWOOD'S latest simile: Like the hush 
-'• -'-that comes just before a talkie scene is 
shot. 

STRANGE as it may seen, Jimmy Murray 
is still under contract to M.-G.-M. He 
has been a bad boy again even after his recent 
promise to be good, so in order to chastise 
him, the studio has kept him under contract 
at a very small salary. If he were released 
he would be able to sign for much more money 
with another concern. Now rumor has it that 
M.-G.-M. will send him to Germany to make 
a picture. 

•T^^O of the most eligible young women in 
■'- Hollywood arri\'ed at the opening of 
"Noah's Ark," quite manless. 

Lily Damita and Camilla Horn came 
together and found the stag Une more than 
attentive. 

TACK DEMPSEY has bought a string of 
J horses that he intends to race at Tia Juana 
this season. 

Estelle Taylor, who likes three regular meals 
a day same as any right minded gal, is none 
too hot about Jack's investment. 

IF producers were wise they would insist that 
a star's boy friend always be allowed on 
her set. 



The other day Joan Crawford couldn't cry 
at all until Doug Jr., came over and held her 
hand and looked sympathetic or something. 
That's what love does. 

IT'S an old Hollywood custom to 
go anywhere the crowd goes 
whether you're invited or not. The 
other day a well known actor was at- 
tending a party. 

He happened to be standing near 
Lewis Stone. "Well, well, it's nice 
to see you. Stone," said the actor. 
"Don't see you much around. Didn't 
think you got out much to attend 
parties." 

"I don't," said Lewis, "it happens 
that this is my house and I'm giving 
this party." 

'Y'OU may not think it funny, but I laughed 

-"- as if my little heart would break when I 

learned that the very suave, very British Mr. 

Clive Brook breakfasts on sauerkraut juice. 

'pIVE feet, five inches seems to be the 
-*- popular "stellar heights" for film stars. At 
any rate, we find the following "cinema celebs" 
in that class: 

Billie Dove, Corinne Grifiith, Dorothy Mac- 
kaill, Maria Corda, Thelma Todd, Mary 
Astor, Madge [ continued on page 96 ] 




"Ole Man River — he don't plant 'taters, he don't plant cotton," but he sure do make a swell 
background for a movie. King Vidor, knee-deep in the yaller water, catches a beautiful and 
sinister view of the Mississippi for a scene in "Hallelujah." This is the picture that has an 
all-colored cast, plus sound effects of darky voices singing negro spirituals. All of which should 
make it something very much worth seeing and hearing 



86 



Photoplay Magazine— Advertising Section 



87 



Sore Throat 

breeds in crowded, drafty places 
Gargle when you get home 




Listerine full strength 

kills even typhoid germs 
in 15 seconds 

A S soon as nasty weather sets germs — and sore throat, Hke a 



If a tliroat condition does not 
rapidly yichl to this treatment, 
consult your physician. Lam- 
bert Pharmacai Company, St. 
Louis, Mo., U. S. A. 



■L »- in, thousands are down with 
sore throat, colds, grippe, flu, or 
worse. 

Don't be one of them. Gargle 
with Listerine full strength every 
day — especially after exposures 
to rain, severe cold and coughing 



cold, is caused by germs. 

Repeated tests show that Lis- 
terine kills even the stubborn 
B. Typhosus (typhoid) and M. 
Aureus (pus) germs in ISseconds. 

Realizing Listerine's power 
you can understand its efl"e<'live- 




crowds in public places — buses, ness against the milder winter 

street cars and movies. This complaints caused by germs, 

simple act may spare you a costly Each year increasing millions 

and possibly a dangerous siege rely on it 



of illness. 

Because Listerine, full 
strength, is powerful against 

The saje antiseptic 



Keep a bottle handy and at the 
first sign of trouble, gargle re- 
peatedly. Don't hesitate to use 
it full strength. It is entirely 
safe in any body cavity. 

When you write to advertisers please mention PHOTOPLAY MAO 



Fewer colds 

— 1/ you do this 

Millions of rolds stiirl m hen »r«'riiis, 
transferred from the luinds to food, 
i-nter the niontli. Tlierefore. Ix-fore 
f>very meal, rinse y(»iir liiiii<ls Mitti Lis- 
terine. Tliis efTeetiially destroys dis- 
t'ase fierrns. Tfiis simple ai't may save 
you a nasty sie;;e witti a eold. And it is 
espeeially iinportant for mothers to 
remember » hen preparing children's 

food. 
AZING. 



88 



Photoplay Magazine — Advertising Section 




Mild enough for anybody 



Erery advertisement In PHOTOPLAY MAQAZIN'E Is guaranteed. 



Photoplay Magazine — Advertising Section 



89 




What a cigarette 
meant there 

It took a lot of 

courage, for he was no "ladies' mau," 
and she was the belle of the town. 

That awkward, stammering proposal... 
interrupted.. .Andnow...wouldshe never 
come back? The zero hoxir, for a fact . . . 
the longest minutes of a lifetime. 

Like most men, he lived through it, sus- 
tained by that little friend in need . . . his 
cigarette ... the most important cigarette 
he ever smoked. 

What a cigarette 
means here 

It took a lot 

of courage, likewise, to propose and go 
through with the idea behind Chesterfield. 
It took courage, for it meant less profit 
per package than is made on any other 
cigarette. Into Chesterfield we blended 
the finest qualities of tobacco ever offered 
at popular prices— tobacco selected re- 
gardless of cost, from all the leaf markets 

of the world. „ , , . , ■ • 

And when Chesterfield jumped to big 
volume and continued steadily to grow 
... we knew that this cigarette which so 
surely bespeaks tobacco quality to us had 
come equally to mean it to you. 



d\i^' 



•rt&* 



-•/U^jA^L*, 



V^^iVCCoCoi 



Xanthi and Cavalla, Smyrna 
and Samsoun—from here 
come the fragile tender Turkish 
tobaccos for Chesterfield's /a- 
mous blend. 



, . . and from Virginia 
and Carolina come the 
famous "bright " or"yeU 
tow" tobaccos: fromKert' 
tucky the rich mellow 
Burtev uhich completes 
this mild yet satisfy- 
ing blend. 



andj;et THEY SATISFY 



When you write to advertUera please mention PHOTOPLAY MAGAZINE. 



90 



Photoplay Magazine — Advertising Section 




VALENT1N£ 

a Meeker Made 

fine leather handbag 

THE practical gift is the truly appropriate 
gift in this swift moving age, for it takes 
stouter fiber than "cobwebs and gos- 
samer" to withstand daily wear and tear in 
crowded stores, street cars and automobiles. 
But a gift that is beautiful as well as practical 
is indeed ideal. 

A Meeker Made Art Leather Bag is the per- 
fect answer to the modern Valentine gift 
problem. As beautiful as it is practical, it also 
has almost unbelievable wearing qualities. 
These bags — the products of expert crafts- 
manship — are made from choicest imported 
steerhide leather, tooled, hand-colored and 
hand-laced in the shops of the Meeker Com- 
pany at Joplin, Missouri. They are smart in 
shape and design, and "right" with any cos- 
tume because of their neutral tone and har- 
monious colorings. 

At the better dealers everywhere. 

M MADE IX 

DISTINCTIVE LEATHER GOODS 

handbags . . . underarms 
. . . vanities . . . billfolds 

The MEEKER COMPANY, Inc. 
JOPLIN, MISSOURI 

Largest manufactur-ers of Steerhide Leather Goods 
in the U. S. A. 



Not Like Dad 



I CONTINUED FROM PAGE 50 J 



more the Barrymore than the Fairbanks type. 
From his father he inherits his fine mental 
qualities; from his mother the sweetness and 
gallantry of his nature. 

His personal life has been influenced by Joan 
Crawford, whose name could not possibly be 
kept out of any comment on young Doug. 

Each brings gifts to the other. " 

Joan's life has been one of a bitter sort of 
action. 

_ While Doug was sleeping on park benches 
just to see what it was like. Joan was iinding 
any shelter that might harbor her. 

On her part, this was no gesture— it was born 
of necessity. 

Doug is constantly on the set with Joan when 
he is not working and his gaze is always upon 
her. 

They have the complete absorption of very 
young, very intense lovers. They speak a 
language of their own; and by that I do not 
mean simply the language of eyes, but a very 
definite patois that they have concocted for 
their own use. It serves the purpose of com- 
pletely e.xcluding them from the rest of the 
world. 

T^OUG has brought to Joan, reckless, waste- 
■'-'ful Joan, an introduction to books that she 
did not know had been written, a love of 
music where only a jazz band was her sym- 
phony; and he has shown her poetry. 

Doug has written poems — he may this year 
bring out a book of them illustrated by him- 
self—but the best of all are those copied in a 
firm, girlish hand in a Uttle maroon colored 



leather book, kept in the top drawer of Joan's 
desk. 

They are all dedicated to, and inspired by 
Joan. 

She has brought gifts to Doug. She has 
shown him the reality of Ufe, the grim, sordid 
misery of it. Young Doug, never having had 
that side of hfe, has known only the misery of 
the mind. 

They are completely different— Joan and 
Doug— just as Doug, Sr., and Jr., are'different. 
The lad lives in the spirit. The others live in 
the world. 

LIKE all young artists, he has moods of self- 
doubt. 

"I have awful faults," he said. "Look! 
Over there is my ambition (pointing to Joan), 
but who am I to have such a one as she? I look 
at myself in the mirror and know that her love 
for me can't possibly last. 

"I adored her for a long time before I met 
her, and I always felt sorry for her, but she 
seemed so aloof and far away from me. 

"I blame myself for my faults and weak- 
nesses. 

"Perhaps that will teach me how to li\e 
and how to hold her.'' 

The artist is invariably concerned with the 
manner of living. 

The man of action is concerned with the 
doing of it. 

The two tj^pes can never touch. 

Doug, Sr., may give his son a friendly pat 
and call him a good kid, but he will never 
understand him. 



Diet for Health and Beauty 



I CONTINUED PROM P.^GE 69 1 



and surgical aid. There \\-ill be no attempt 
made to elevate the orange, the prune, the 
raisin or raw rabbit food to precedence over 
what experience has shown to be of value in 
caring for the sick and the well. 

By way of introduction, we shall consider the 
body as a machine for the sake of simpUcity. 
All machines, if they are to run smoothly and 
well, need fuel, replacements and ^egu'lati^•e 
materials. 

The food needs of the body will be discussed 
on this basis, whether it be in reference to 
increasing or decreasing weight, or in com- 
batting the causes and effects of disease. 

'X'HE weight reduction craze has become a 
■'- national problem, in fact a menace. It was 
this menace which awakened Photoplay to the 
necessity for combatting banting by those 
who would do themselves perhaps life-long 
injury for lack of proper super\ision in their 
struggle to starve themsehe's into figures like 
those of the stars of the silver screen. Tuber- 
culosis, anemia and ner\-ous disorders have 
been counted among the tolls which voluntary 
starvation for a slender figure and cinema star- 
dom has exacted. 

It is indeed too bad that angles have sup- 
planted curves in the feminine figure; that 
emaciation has been substituted for fascina- 
tion; that shoulder blades like wings now stand 
out where once were dimples on the backs of 
debutantes. 

Since Mother's rations have become as short 
as her dress one cannot be blamed for greeting 



a buxom, well-nourished American girl with a 
Hip! Hip! Hurray! for one gets the chance so 
seldom. 

To teach Photoplay readers w-hat"to eat and 
why, foods will first be discussed on the basis of 
the body needs for foods rich in fuels, replace- 
ment materials and regulative substances. 
Then wiU follow information as to the com- 
parative value of important foods and food 
groups. 

Next will come diets and menus for gaining 
and reducing weight as fixed by the best 
authorities. 

As the contemplated series gets under way 
the_ queries of readers will bring up many inter- 
esting points which will be thoroughly aired in 
this column as well as determining the trend 
of subsequent articles. 

The vista is a broad one and no effort will be 
spared to make the series interesting, enter- 
taining and instructive. 

•X'HE opening gun in the series will be pub- 
■*■ lished next month and will cover the 
principles of nutrition, as it is not much use to 
eat from the standpoint of diet unless one 
knows for what purpose one is eating. 

Then will follow much of interest as to 
calories, carbohydrates, fats, proteins, miner- 
als, cellulose, vitamins, phosphorus, iron, cal- 
cium and other elements of diet which are still 
just words to so many. 

Photoplay wishes to teach its readers to 
eat, to think of what they eat and to be wary 
of diets which will hurt their health. 



There will be another article on diet by Dr. Willis in 
the March PHOTOPLAY 



Every adverllsemenl in PHOTOPLAY MAGAZINE Is guaranteed. 



Photoplay Magazine — Advertising Section 



^^ Everything must Flatter us 

^ to our Finger Tips, 



says 



Ethel Barrymore 




The appealing charm of Ethel Barrymore's dramatic hands is height- 
ened by the brilliance of the new Cutex Liquid Polish. 



"Never fails to protect my nails," says 

Marie Martin, a Winter Sports Favorite 



Miss Marie Martin, a New York- 
debutante, is a devoted sports woman 
who regularly has her winter sports 
at Lake Placid. 

Miss Martin said, "Of course, we 
wear mittens at Placid, but the snow 




soon wets through and the nails get 
simply frightful, all stained and 
grubby! 

"But the new Cutex Liquid Polish 
never fails to protect my nails. A 
thorough wash, and they shine forth 
just as if I had had a brand new 
manicure. I just adore it!" 



For Weil-Groomed Nails 

— do these three simple things 

People's eyes are always on your hands. 
This is the way to keep yours pretty. 

First — the Cuticle Remover to 
remove dead cuticle, to whiten thenail 
tips, soften and shape the cuticlebring- 
ing out the beauty of the half moons. 

Second — the Polish Remover to 
remove the old polish, followed by 
flattering Cutex Liquid Polish that 
sparkles undimmed for a week. 

Third — apply Cutex Cuticle 
Cream or Cuticle Oil around the 
cuticle and under the tip to keep the 
cuticle soft . . . Cutex preparations 
35^ each. Polish and Remover to- 
gether 50(?. 

Northam Warren, New York, Lon- 
don, Paris. 



The best loved actress on the 
American stage adds, "and 
of all the vs^ays of grooming 
the finger tips I find the new 
Cutex Liquid Polish the 
most flattering." 

ETHEL BARRYMORE now crowns 
her years of success with a season 
of repertory in the new Ethel Barrymore 
Theatre, West 47th Street, New York, 
named in her honor. To her public, this 
magnificent actress's appeal lies not alone 
in her great talent, but in her velvet voice 
and expressive hands. 

"Today 'all the world's a stage,'" 
quoted Ethel Barrymore gaily. Nothing 
in a woman's appearance escapes ob- 
servation. The hands particularly must 
contribute. 

"They must be sparkling," Miss Barry- 
more declared. "I find the new Cutex 
Liquid Polish keeps my finger tips radi- 
antly crisp — gives them just the nec- 
essary touch of flattering sparkle ! 

" I take along the Cutex Manicure Kit 
on all my tours," she added. For smooth 
cuticle and exquisitely white nail tips 
demand regular care with Cutex Cuticle 
Remover and Cream. "Applied now and 
then," finished Miss Barrymore, "they 
keep my shining nails ready for their cue ! " 



The new 

Cutex Liquid 

Polish 

flatters 

your nails 




Special Introductory Offer — 6^ 



I enclose 6c for the sample of the new Cutex 
Liquid Polish and Polish Remover. (If you live in 
Canada address Post Office Box 2054, Montreal, 
Canada.) 

Northam Warren, Dept. 9Q-2 
114 West 17th Street, New York 



When you write to advertisers please mention PHOT0PL.\Y M.XG.^ZIXB. 



FOR 

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AND 

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$1»^ 






Girls' Problems 



I CONTINUED FROM PAGE 16 1 



Josephine: 

Lemon rinse is splendid for the hair, be it 
blonde or brunette. 

B. P.: 

By all means wear high heels, especially for 
dress. They are much prettier, and you are 
not in_ the least above the average height. 
There is no reason why you should not wear 
them. 

Bubbles: 

Your weight is just right, and I should think 
that you would be lovely with your hair worn 
after the charming manner of Greta Garbo. As 
for colors, try orchid and pale yellow and nile 
green and, of course, lipstick red. 

M. L. P.: 

A good lemon cream will be far better for 
your face than the method that you suggest, 
which is harsh and will hurt the skin. I would 
suggest that you use powder in the naturelle 
shade, and you will find several good creams, 
especially constructed for the removing of 
freckles, advertised in Photoplay Magazine. 
You are about seven pounds under weight. 

C. L.: 

You should wear V-shaped neck lines that 
come close to the sides of the throat and fairly 
low in front. They will be far more becoming 
to you than the round or bateau neck line. 

Brush your hair regularly and it will shine 
with health rather than with grease. People do 
not brush their hair enough. Constant brush- 
ing will also bring out the reddish tint. 

MiCKiE N. : 

I should Hke you to bring this item to the 
attention of your mother, for I think she is 
being too strict with you. Her anxiety to keep 
you away from boj's is making you more 
an.xious than you would normally be to know 
them. Ask your mother to read this, and per- 
haps write to me. 

Bernice : 
Indeed all shades of brown will be more be- 



commg to you than blue or black. And don't 
neglect beige and African brown. These dull 
shades will bring out the brightness of your 
eyes and hair. And always, to relieve your 
brown costumes, have a touch of orange or 
canary yellow or amber. 

Mary Anne: 

Why don't you frankly ask the young man 
k) tell you his attitude in regard to yourself? 
The old phrase, "cards on the table," is a good 
one. You are old enough and have known him 
long enough to ask for an e,xplanation of his 
curious conduct. 

Miriam: 

Brush your hair back from your forehead, 
but from a definite part. If you can part it in 
the middle becomingly, do so. Bring the ends 
of your hair out on the cheeks in long points. 
That will make your face seem more slender. 

Irene: 

1 think that your stand against petting is a 
wise and sane one. Some of the surface pop- 
ularity may not be yours, but surface popular- 
ity is a passing thing and you will come into 
your own in the end. The worthwhile boys will 
be the ones who care about you. Ideals are 
more important than flashy popularity— re- 
member that always. 

Constance : 

There is no reason why the nationality of 
your friend should make any difference. I 
have known many charming men of his 
nationality who have been accepted in the best 
homes. 

Bernice C. C: 

The exotic type is the type that Greta Garbo 
represents, also Aileen Pringle belongs to that 
type and so does Nita Naldi, and Jetta Goudal. 
As you can see, all four of these women are 
totally different in appearance, but they are 
alike in having an intangible and alluring 
charm. Being exotic is more a question of 
charm and personality and allure than of any 
regular style of beauty. 




"Night stuff" on the Metro-Goldwyn lot. Director Alf Goulding 

IS shooting a red-hot fire scene for the new Karl Dane-George K 

Arthur picture, "All at Sea." The crane is probably to haul Big 

Karl out of the flames 

Every advertisement in PHOTOPLAY MAGAZINE Is guaranteed. 



Photoplay Magazine — Advertising Section 



93 



Below is the famous [ 
Ingram Mannequin. Her 
image shows the : 
spots most difficult 
care for, and the text tells 
you how best to do so! \-' 






h 



a nca 



ca/t 




Ithy skin 
youna 



\ 




THE Skin of Youth may be yours! 
A clear complexion can be yours, a 
soft, smooth wrinkleless skin, if you 
will follow carefully, word for word, 
the directions which come with every 
jar of Ingram's Milkweed Cream! 

The secret is in the "six stars" — 
shown in the mannequin above, and 
explained point by point— in this text! 

For the slightest lack of perfect 
smoothness— the slightest blemish or 
wrinkle is evident to every man or 
woman whom you meet — each one 
speaks volumes about your age and the 
condition of your skin. 

Ingram's Milkweed Cream protects 
each of these vital points and not only 



■^ Thread-like lines soon turn to furrows 
if the skin on the forehead is not kept 
soft and supple. 

■^ Tiny rays or puffiness about the eyes 
should be watchfully avoided if you 
are to look young and fresh. 

>j' The curve of the lips — the expression of 
your face — may so easily be spoiled by 
lines at the corners of the mouth. 

VV Nothing so quickly betrays age or 
neglect as a wrinkled neck. Keep the 
skin here soft, the contour rounded. 

■^ Guard against a "crepey" throat if you 
would keep your youth. It is fright- 
fully ageing and unflattering. 

"^f Many women never feel right in evening 
gowns beca use their shoulders are marred 
with blemishes and coarseness. 



protects but ameliorates their health. It 
is even slightly therapeutic in its effects 
—it does things no other cream, how- 
ever expensive, can possibly do. It 
tonics your skin— it is excellent against 
roughness, redness and blemishes. It 
smooths away the tiny wrinkles. It is 
perfect against chapping and flaking. 

Ihere is room for Ingram's on your 
dressing table. For Ingram's is a basic 
cream, excellent as a cleanser, but with 
the added virtues of demonstrable 
benefits to the skins of all women who 
use it. Use one jar of Ingram's — and 
you will find your skin growing softer, 
more lovely— with every passing day. 



I N G ram's y\.LlAit^etd Qjream 



© p. F. I. Co.. 1929 

When you write to advertisers please mention PHOTOPLAY MAGAZINE. 




Photoplay Magazine — Advertising Section 



Jong Hair' 

Is cxmurxcj bcick 




PREIDICTX 

Internationally Famous Hatr^ 
dreascr, whose clientele includes 
tvotnen of smart society, 
discusses the current 
trend in hair combings 




IISTORY will 
1 repeat itself," 
declares Pierre... 
"Longer gowns, lar- 
ger hats are already be- 
ing worn and — naturally — 
longer hair is coming into 
vogue." Whether you agree with 
Pierre or prefer the still popular 
bobbed type of hairdressing, your 
charm of appearance will continue 
to depend on careful hair combing. 
For every type, long or short, 
there is an ACE COMB adapted tohelp 
you to always look your best. We 
recommend a large 8 or 9 inch Ace 
Comb to use at home, morning and 
nigh t,aswellasmanysizesand styles 
of handy little Ace Purse Combs to 
carry with you wherever you go. 

ACE 
C€MEJ 

made of the purest Hard Rubber, are strong, 
durable and sanitary. Even the surfaces between 
the teeth are eiuoothly finished. They cannot 
possibly pull out, break the hair or injure the 
6calp. But be aura to select ACE COMBS. 

AMERICAN HARD RUBBER CO. 
11 Mercer Street, New York, N. Y. 



^VHEREVER^youyind 
this Cabinet displayed 
there is an assortment 
from which to select all 
the ACE COMBS you 
need. Drugpists and De- 
partment stores every- 
wheresellXCE COMBS. 



American Hard Rubber Company, 

11 Mercer Street, New York, N. Y. 

Enclosed ia 25 cents (stamps preferred) 
for "CurrenlStyle in Hair Combing" and 
sample 4 inch Ace Comb. Please send to 



Brickbats and Bouquets 




[ CONTINUED FROM PACE 10 ] 



What Every Woman Knows 

Oakland, Calif. 
A motion picture of modern life is the only 
fashion book I ha\e used for a long time. A 
girl gets so many ideas for new dresses after 
seeing one of the current movies that, if she 
is at all competent, she may make similar 
dresses for herself. The artists creating these 
fashions gi\'e to us the work of long tedious 
Iiours for the price of an admission ticket to a 
theater. 

Nadeline L. Perry. 

Hey, Miss Davies! 

Wahoo, Neb. 
I salaam to IMarion Davies. I saw her in 
"The Patsy." She's a Pickford, a Bow, a Tal- 
madge all in one. A knockout ! Her imperson- 
ations of INIae Murray, Lillian Gish and Pola 
Negri were perfect. Three cheers for Marion! 

LULA NfiTHAWAY. 

Cut the Bunk 

Kingsport, Tenn. 

Will you permit me a word relatix'e to the 
wild extravagance and distorted superlati\'es 
employed in mo\'ie advertising? "A la\'ish 
spectacle of beauty and thrills." " Stupendous 
production!" "The greatest heart drama of 
all times." 

My emphasis is not the vulgarity of this 
buncombe, but its inefFectuality. Would it 
not be good business judgment to give people 
a clue to the character of the picture, instead of 
bombarding them with meaningless catch- 
phrases? 

Paul N. Olive. 

Paris Comes Second 

Farmington, Wash. 
On the screen today, we have the best 
dressed men and women in the world. Even 
Paris admits that really tine dressing is seen 
on the American shadow stage; that it is not 
only seen, but consistently appears in pictures. 
It is not only the so-called society picture, with 



the gorgeously gowned women, but pictures 
that deal with every walk of life reveal those 
correct lines and general effects of tasteful 
dressing that we all seek. The principle of 
clothes adapted to personality is certainly well 
employed in screen plays. 

RoMAiNi: Nicholson. 

Home-made Movies 

Atlanta, Ga. 

Brickbats are easy things to throw and of all 
the people who throw them, how many would 
know how e\-en to try to act before a camera? 

My husband bought an Amateur Movie 
Camera. This delighted me because I knew 
it would be my chance to see myself as others 
see me. I am not camera shy and fully 
believed that the first hundred feet of fihn my 
husband made of me would be good. But 
a big disappointment awaited me. Turning 
my face from side to side seemed to be the only 
action in the whole film. 

]\Iy smiles seemed artificial. Everything 
I did was awkward. 

Even now, after making about 1,500 feet 
of lilm, the results are far from perfect. 

There was a time when I would go to the 
movies and be terribly critical but now, after 
my own experiences, I make allowances for the 
poorest kind of acting. 

Mrs. Tom Standring. 

Why the Party Succeeded 

Atlantic City, N, J. 

I recently gave a large party and it went 
over, thanks to Photoplay. It happened 
that the party, being a large one, would 
have been a flop as I did not know what 
to serve. 

A friend suggested the "Favorite Recipes 
of the Stars." I immediately sent for a copy 
of Photoplay Cook Book and I assure you 
I could have selected no end of appetizing 
dishes. All the guests marvelled at the 
dainty dishes and, of course, inquired where 
I got them. 

Barbara Hoblman. 



Name- 




Dick Barthelmess is only a number now. Here is a Bertillon photo- 
graph of him for his new First National picture, "Weary River." 
But when did the muggers at Police headquarters begin furnishing 
bear grease and make-up to their subjects? 



Every adverllsemeni In PnOTOPI.AT MAQAZINE Is BUlranteed. 



Photoplay Magazine — Advertising Section 




I i? 



Many good things have heen 
added to yonr screen entertain- 
■ ment hy the talking fihn. Tliis mar- 
vel of modern scientific achieve- 
ment has added new punch to 
many dramas; thrills and chills 
to the spectacles and the mystery 
plays. flBut, NOW, best of all, the 
comedies talk! f|For Educa- 
tional Pictures, always the out- 
standing leaders where Short 
Features are concerned, 
bring to you through the 
best theatres every- 



where, a new laugh treat. ..short 
comedies with talking, music 
and all natural sound effects, 
from start to finish. HI If you have 
not seen and heard one of the 
new Mack Sennett Talking Com- 

EDIES, you have a delightful sur- 
prise in store for you. If you 
have seen "THE LlON'S Roar" 
and "The Old Barn", you 

watching now for the 
next one. And there will 
be a ne^v one every few 



^ 

^ 







When you write lo «dvertlser« please mention PHOTOPLAY MAGAZINE. 



Gossip of All the Studios 



1 CONTINUED FROM PAGE 86 ] 




'T'HE scene is laid in the steam room of a 
-*■ Hollywood Turkish bath. The principal 
character is Belle Bennett, clothed in a sheet 
and a forgiving smile. 

Belle discovers a large lady lying on the 
next slab. 

"Why, Vera, darling, how are you? I 
haven't seen you in so long!" says Belle. 

"No, lady, I ain't Vera Gordon. Lots of 
people t'ink I am." 

Belle is somewhat squelched. She re- 
mains silent for some time but at last breaks 
down with, "You certainly do look like her. 
Are you in pictures, too?" 

"No, lady, I ain't in pitchers. My hus- 
band, he runs a grocery store. I'm the meat 
chopper." 

WHILE the ilu epidemic was at its height. 
Milton Sills, making "The Comedy of 
Life," walked on the set and noted that one 
of the crew was dozing in a chair. 

"Ah," said Milton, lapsing into the native 
Italian, "a little doke far nknle. eh?" 

"No," came the response, "just old-fash- 
ioned flu." 

TUST before he went to New York recently, 
William S. Hart disco\'ered that his butler 
had run the grocery bill up to $,W6, not 
counting feed for the horse. So he lired the 
butler. 

Then he got an inspiration. CaUing the 
butler back, he remarked laconically, "Never 
mind, I'll fire you when I get back from 
New York." 

I CONTINtTED ON PACE 102 ] 



Once again in "7th Heaven." The stars 
and production chiefs of your favorite 
picture of 1927 take time off to admire the 
Photoplay Gold Medal. They are Sol 
Wurzel, Studio executive; Winfield Shee- 
han, Production manager; Janet Gaynor, 
Frank Borzage, director, and Charles 
Farrell 



Bellamy. Evelyn Brent, Slarion Davies, Elinor Faire, 
Louise Fazenda, Lillian Gish, Jacqueline Logan, Virginia 
Pearson, Marie Prevost, Esther Ralston, Anita Stewart, 
Constance Talmadge, Estelle Taylor, Kathlyn Williams 
and Lois Wilson. All of 'em are five feet,' five inches 
in altitude. 

/^.\RROLL NYE, who has just completed his first 
^—'talking role in "Confession," an M.-G.-M. sound 
picture, believes that Lionel Barrymore. who makes his 
directorial bow with this production, will soon have a 
position among the foremost directors of the industry. 
Carroll says he learned more little points about acting 
from Barrymore in a week than he has absorbed in all 
the rest of his three years before the camera. 

"In a certain scene." says Carroll, "I was 'mugging' 
a girl when Barrymore stopped me. 

" 'Listen Carroll,' he said, 'you are not a dirty dog 
heavy — forget that attitude. 
You are just one of those 
young men who annoy 
brothers.' " 

Nye got his point, and the 
camera and "mike" did the 
rest. 



The talkie actor 

raved and roared 
With none to steer 
him. 
"Hit me again !" the 
patron cried, 
"I still can hear 
him!" 

96 



The snooping cam- 
era platform — it 
looks right into your 
windows. This mon- 
ster was invented by 
Dr. Paul Fejos to 
catch difficult scenes 
at every possible 
angle. It can go 
600 feet a minute 
horizontally and 400 
feet a minute ver- 
tically 




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MENTHOL-XOOLED 




CI6ARETTEJ 



oyJS told to 

Princess Evt 

by 

10,000 Men 

"Women Use 
Too JS/luch Kouge" 




Td 



iHE MEN, poor 
dears, are not 
quite correct. They 
judge by appear- 
ances solely. What 
they really protest 
^ ' ^g«|a is the ''painted 

I B^^Bh ^'-''^^" — ^'^^ "too 

- ^^^TB much rouge" is not 

really a question of 
quantity. It is a 
matter of kind; for even the tiniest bit 
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Women have startling proof of differ- 
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fleecy clouds at sunset shade from 
deepest rose to faintest pink, every 
tone pure and luminous? So it is with 
Princess Pat rouge. Every tone is pure 
and luminous, seeming to lie beneath 
the skin and not upon it. You obtain 
more, or less, color by using freely or 
sparingly. But there is never a ques- 
tion of too much, never the unlovely 
"painted look" to which men object. 

Purity, delicacy, the most costly color 
tints, and a secret formula combine to 
make Princess Pat the most natural 
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or brunette, you can use any and all of 
the six Princess Pat shades with perfect 
effect — instead of being limited to one 
as with usual rouges. 

Velvet Your Skin with Princess Pat 
Almond Base Face Powder 

Velvet is just the word; for the soft, 
soothing Almond Base imparts to 

Princess E\t 

PRINCESS PAT LTD. CHICAGO, ILLINOIS 




Princess Pat 
an entirely new 
"feel," makes its 
application a verit- 
able caress. Most pow- 
ders contain starch as a base 
— hence their drying effect. The Al- 
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the skin, assists it to remain pliant 
and fine of texture. And there has 
never been a powder to go on so 
smoothly, or cling so long — never be- 
cause only in Princess Pat do you find 
the soft, naturally adherent Almond 
Base — instead of starch. 

Princess Pat Almond Base face powder 
now comes in two weights. Medium 
weight in the familiar oblong box — 
lighter weight in the new round box. 
It has been possible because of the Al- 
mond Base to make the lighter weight 
powder just as clinging as the medium. 



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QUESTIONS e? ANSWERS 



Read This Before 
Ashing Questions 

You do not have to be a 
reader of Photoplay to have 
questions answered in this De- 
partment. It is only necessary 
that you avoid questions that 
would call for unduly long an- 
swers, such as synopses of plays 
or casts. Do not inquire con- 
cerning religion, scenario writ- 
ing, or studio employment. 
Write on only one side of the 
paper. Sign your full name and 
address: only initials will be 
published if requested. 




Casts'and Addresses 

As these often take up much 
space and are not always of in- 
terest to others than the in- 
quirer, we have found it neces- 
sary to treat such subjects in a 
different way than other ques- 
tions. For this kind of informa- 
tion, a stamped, addressed 
envelope must be sent. It is 
imperative that these rules be 
complied with-in order to insure 
your receiving the information 
you want. Address all inquiries 
to Questions and Answers. 
Photoplay Magazine, 221 W. 
57th St., New York City. 



Mrs. M. B., Fort Smith, Ark. — Be fair to 
the star whom you accuse of being high-hat. 
Most people aren't e.xtra cordial to persons who 
are casually introduced to them in restaurants. 
And Hollywood is tilled with travelers who 
want to meet the stars, most of whom are, after 
all, pretty busy with their own affairs. To go 
on with your questions; Mae Murray has a 
son, nearly two years old. She's appearing in 
vaudeville. "Submarine" was filmed on board 
the U. S. S. Tern and also on the Saratoga. 

N. \V., Vanxou\-er, B. C. — Let's straighten 
out these romances. Greta Garbo and John 
Gilbert aren't engaged. Greta says that she 
isn't going to marry. Her latest picture is "A 
Woman of Affairs," and she has light golden 
brown hair and blue eyes. And Clara Bow is 
not engaged to James Hall. They just happen 
to play in pictures together. 

Nancy J., Jamestown, N. D. — Dorothy 
Mackaill and Clive Brook both use their real 
names in pictures. Clive is thirty-seven years 
old. Bebe Daniels is ten years younger. It's 
pronounced Bee-bee. And -Alice White is six- 
years younger than Bebe. Come again. 

C. K. B., Harrisbueg, Va. — Helen Foster is 
twenty-two years old and five feet tall. She 
weighs 102 pounds. Write to her at the 
Universal Studios, Universal City, California. 

Z. B., Bay City, Mich. — Eric von Stroheim 
was born in .Austria, forty-three years ago. Off 
the screen, he is a temperamental but hard- 
working fellow. In 1920 he married Valeria 
Germondrez, who played small parts in pic- 
tures. They have one son. 

L. A., Cedar Vale, Kan. — Why this idea that 
John Gilbert and .\ileen Pringle are related? 
Here's the explanation: John's real name is 
Pringle, but he has always used his step- 
father's hame of Gilbert. .Aileen married a 
Pringle. So it's just a coincidence. Billie 
Dove is just a stage and screen name; she was 
born Lillian Bohny. William Haines was born 
in Staunton, Va., and is twenty-eight years old. 

D. W., Seattle, Wash. — More about their 
real names: Ruth Taylor, Fay Wray and Jose- 
phine Dunn all use their original monickers. 
Josephine was born in Xew York City. 

C. E. L., Chicago. III. — Miss Crawford 
pronounces it Joan, all in one syllable, not 
"Jo-an." 

W. T. S., Orange, N. J.— Say, mister, you're 
prejudiced. Otherwise you would never call 
Greta Garbo a "dead-looking duck." Do you 
want an irate public mobbing your house? 
Now for the facts on Ihe giri: Sally Phipps is 
nineteen years old and she was born in San 
Francisco. Her ne.xt picture is tentatively 
titled "Headlines." Constance Talmadge is 
twenty-eight and Loretta Young is eighteen. 



C. C. AND P. S., New Orleans, La.— I rush 
to inform you that Farina is a boy; his real 
name is Allen Clayton Hoskins and he was 
born in Boston— of all places! Now will the 
office please go back to work? 

Annette S., Pawtucket, R. I. — Dolores 
Costello is about twenty-three years old. She 
has blue eyes and w-eighs 108 pounds. Greta 
Garbo is five feet, si.x inches tall and weighs 125 
pounds. 



ARE Joan Crawford and 
Douglas Fairbanks, Jr., mar- 
ried? That was the most per- 
sistent question of the month. 
Joan and Doug say "No." Holly- 
wood says "Yes." The Answer 
Man refuses to take sides. 

More about Nils Asther. Nils 
is twenty-six years old, weighs 
170 pounds and is six feet, one- 
half inch tall. Not married. 

"Buddy" Rogers is twenty- 
four years old and attended the 
University of Kansas. 

Colleen Moore's real name is 
Kathleen Morrison. She is 
twenty-six years old. 

Davey Lee, the Sonny Boy 
of "The Singing Fool," was just 
four years old December 29. 
His next picture is "She Knew 
Men," featuring Betty Bron- 
son. 

Photoplay received seventy- 
two letters in one day asking if 
Davey Lee were dead. The 
Answer Man is glad to say that 
Davey is alive. But where, why 
and how did the senseless rumor 
start? Will someone please ex- 
plain? 

Clara Bow's next picture is 
"The Saturday Night Kid." 

John Mack Brown was born 
in Alabama. He's twenty-four 
years old and married. 

In writing to the stars for 
photographs, PHOTOPLAY ad- 
vises you to enclose twenty-five 
cents to cover the cost of picture 
and postage. The stars, who re- 
ceive hundreds of such requests, 
cannot afford to comply with 
them unless you do your share. 



GwEN W., Brooklyn, N. Y.— Bodil Rosing 
is the mother of Tova Jansen, who is the wife of 
Monte Blue. That makes her Monte's mother- 
in-law. 

T. M., Chicago, III. — You're wTong; apolo- 
gize to your friend. Mary Pickford was mar- 
ried to Owen Moore in 1910 and divorced from 
him in 1920. 

Retha, Carlsbad, N. M.— Flattery always 
turns the trick. Barry Norton is five feet, 
eleven and one-half inches tall. He has dark 
brown hair and dark brown eyes. 

Patty K., St. Paltl, Minn. — David Rollins 
is nineteen years old and was born in Kansas 
City, Mo. He has black hair, blue eyes and is 
five feet, ten and one-half inches tall. And he 
weighs 140 pounds. 

M. C, Los Gatqs, Calif —Oho! So Clara 
Bow's real name is Quinie Chamberiin and she 
comes from your city. I am sorry, but you're 
wrong. I've known Clara Bow (and that's her 
real name) since she was a little school kid in 
Brooklyn. Somebody is telUng you fibs. 
Marguerite Clark is married to Lieut. Palmer- 
son Williams and has retired from the screen. 
Irene Castle is Mrs. Frederick McLaughlin of 
Chicago ; she has one daughter. Jackie Coogan 
is over in Paris, playing in vaudeville. Yep, 
Charles Farrell played in "The Rough Riders." 
And, to go back to Clara, she isn't married. 
The " Clara Bow" of Los Gatos made a mistake 
when she claimed three husbands. 

Curious and Hopeful, Chicago, III. — 
That's the spirit. Yes, it was the same Shiriey 
Palmer in all three pictures you mention. 
Agnes Franey is seventeen years old, five feet 
tall and weighs 100 pounds. Her ne.xt picture 
is "The Queen of the Night Clubs." 

M. C, Vancouver, B. C— Help! Help! 
How could Mary Brian be forty-two years old? 
Take a good look at the giri. She's only 
twenty. .A blight on all these tale-bearers and 
rumor-slingers from Hollywood! Some day, 
when I am not up to my ears in w^ork, I am 
going to make a list of all the funny stories con- 
cocted by so-called "experts" on the movies. 
Barbara La Marr and John Gilbert appeared 
together in "St. Elmo." Philippe de Lacey is 
eleven years old, Charles Morton is twenty- 
two and James Hall is twenty-eight. Gilbert 
Roland has been in moom pitchers since 1925. 

Jean C, Springfield, Mo.— Matty Kemp 
is a young feller who seems to be stepping right 
along. He was born in New York City, Sept. 
10, 1909. Matty was reported engaged to Sally 
Filers, but something must have happened, be- 
cause Sally has announced her engagement to 
William Hawks. He (Matty, not Mr. Hawks) 
has brown hair, brown eyes and weighs 162 
pounds. Just one inch less than six feet tall. 

[ CONTINtlED ON PAGE 144 1 ' 
99 



lOO 



Photoplay Magazine — Advertising Section 




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Amateur Movies 



I CONTIXUED FROM PAGE 74 \ 



pi 




Amateur film production is now a regular part of the year's work of 
the drama class of Newport News High School. Here is the class at 
work. Last year this class nearly won a prize in PHOTOPLAY'S Amateur 
Movie Contest with "Heroes All" 



The lights were devised for Photoplay by 
Tommy Shurgrue of the M.-G.-M. Culver 
City studios electrical department and cost 
very little. 

Have a metal worker shape a piece of light 
galvanized iron into cone form. Paint it or 
enamel it white inside. 

-■Xt the point, or apex of this cone, affix a 
mogul socket, which will fit a 500 watt incan- 
descent bulb. 

No. 14 heavy insulated lamp cord should be 
used. 

-Attach lamp cord to light socket. 

TT is preferable to use a floor socket, since 
-'■connections are better and there is less danger 
of blowing a fuse. 

An ordinary music stand can be used for a 
standard or, better still, a heavier music stand 
such as is used in orchestras. 

The cone should be affixed to the tilting part 
of the stand with stove bolts or a couple of 
rivets. 

In an emergency, iron wire can be used to 
hold the apparatus together. 



A^ORE news of 
-'■ '■'■Russell Ervin, 



logue sequences of Alfred Green's production, 
"Making the Grade," with Lois Moran and 
Edmund Lowe. Back with Delf again, he 
assisted on "The Ladies' Man," starring 
Chic Sale. 

Benjamin Stoloff, the director, next drafted 
Ervin as an assistant on his first dialogue 
picture, "Mind Your Business," with Hugh 
Herbert and Ben Bard. 

"X/TR. ERVIN joined Marcel SUver, the 
•'■''■'•veteran Movietone director, and was his 
assistant in making Chic S^e's "Marching 
On." 

Silver was the man who made the first Fox- 
Movietone subject, a series of song sketches 
with Raquel Meller, in 1926. 

Recently, Mr. Ervin has been at work with 
Mr. Silver on an 18th century toyshop 
story " Forget Me Not," featuring David 
Rollins and Nancy Drexel. 

In the course of his activities up to this time, 

Ervin has turned camera, assisted in sound 

effects and the recording of dialogue, acted as 

script clerk and as first and second assistant 

director. 



winner of the 
mm. prize in 



-Tr., 
35 

Photoplay's first 
contest and now a 
member of the Fox- 
Movietone tech- 
nical staff, will be 
of interest to our 
readers. 

Mr. Er\'inisnow 
a veteran of over six 
months' e.xperience 
in professional film 
making. He began 
his activities at the 
Fox studios in New 
York on July 2, 
1928. On July 15th 
he arrived in Holly- 
wood and, since 
that time, he has 
been busy at the 
Fox coast studios. 

•\>rR. ERVIN 
■'■''•'■first assisted 
Harry Delf in 
filming a short 
subject, "Mystery 
Mansion." Hethen 
worked on the dia- 




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,END OF MUSIC RACK. 



MUSIC 

■ HACK 

HEICHTH ADJUSTABLE 
BY THUMBSCREW 



You can make your own incandes- 
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NOW home 
talkies! 

The De Vry Cor- 
poration is an- 
nouncing talking 
movies for the 
home. The outfit 
consists of a De 
Vry Type G 16 mm. 
projector mounted 
upon the same base 
with a phonographic 
turn table, the two 
being connected by 
a shaft which makes 
them synchro- 
nous in opera- 
tion. The sound is 
carried, via an elec- 
tric pick-up device, 
to your radio or 
your loud speaker. 

The films to be 
supplied will be 
produced in the 
same synchronized 
way as with profes- 
sional talkies. The 
De Vry Corpora- 
tion announces reg- 
ular releases of 
talking films. 



Etery advertisement In PHOTOPLAY JIAGAZINE is gunrantecd. 



Photoplay Magazine — Advektising Section ioi 



Window shopping through 
the world 



Looking around, comparing, deciding on colors and 
flavors and textures and designs— "shopping" for many 
of us is half the fun of buying things and having them 
.... Other people (more scientifically minded) always 
know exactly what they want, and where they want to 
buy it. 

But before anyone definitely can say "I like that — I'll 
take it" in order to spend money wisely, some "looking 
around" must be done. 

Looking around by reading the advertisements saves 
time and trouble and money. For advertisements are 
the shop windows of a world of manufacturers. You 
don't need to walk up Fifth Avenue or past the corner 
drug store to see what So-and-So is offering in the way 
of silk stockings, or refrigerators, or toothpaste, or 
automobiles, or schools for young George, or vacations 
for the whole family. 

The advertisements picture, describe, explain the mer- 
chandise and the new ideas that are displayed and talked 
about from Maine to California. 



Read the advertisements because it 
pays YOU to do so 



When you writ?, to adrerttsera please raeiKton PHOTOPr.AT MAOAZIN*E. 



I02 



Photoplay Magazine — Advertising Section 



TTTTTTTTTTTTTTTTT 



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Gossip of All the Studios 



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I CONTINUED FROM PACE 96 ] 



TMAGINE the consternation of the poor 
-•■producer who recently used in one of his 
pictures a boy in his early teens. The boy 
possessed an unusually attractive boyish voice 
which the producer thought would register well 
in a talking picture. 

The silent version was completed, but the 
producer was held up for some five weeks' 
time while awaiting his sound apparatus. To 
his complete dismay, ■ when the youngster 
returned for the sound work, his voice had 
changed to a husky bass. 

TX THEN sound pictures were first made, 
'^ they called 'em "Soundies;" when talk- 
ing pictures came next, they called 'em 
"Talkies;" and now that we have murder 
mystery pictures, they call 'em "Creepies." 

"N/OU must not, under any circumstances, 
•*• come to Hollywood and say, "the talkies." 
My word, no! The Academy of Motion 
Picture Arts and Sciences has ruled against it. 
It's as uncouth and ill-bred as saying "movies" 
instead of "motion pictures." My word! 

"D AMON NOVARRO will keep his make- 
■'^up in cold storage while in the South Seas 
making "The Pagan" for M.-G.-M. He's 
taking along a nifty little electric refrigerator 
so he can keep the grease paint on ice. And 
there ain't no prohibition in them there South 
Seas! 

EDDIE NUGENT tiptoes in with 
an index finger at his lips, 
"Terrible murder afoot," says he, 
"just heard them talking about 
making 'The Last of Mrs. Cheyney.' 
Shouldn't somebody tell Lon about 
that?" 

WHEN Lupe Velez arrived in Los Angeles 
there was but one dollar in her pocket- 
book. She looked with longing at an expensive 
limousine that whizzed by the depot. 

"In one year I'm going to have one like 
that," said Lupe to herself. 
She has one exactly Hke that. 
"It isn't paid for," says Lupe, "but I've 
got it." 

ANITA PAGE wanted to find out what 
time she had to report on the set so she 
called the assistant director, whose name is 
Sandy Ross. 

Her five year old brother, Moreno, ."learing 
her call for the assistant came flying to his 
mother. 

"Oh, mama, hsten, 'Nita is caUing up 
Santa Claus." 

LEW CODY wins for gallantry. 
Just before the actor left for Europe 
and way points he was at the Cotton Club 
when a young man approached and held out 
his hand in greeting. 

"Hello, Lew," he beamed. "How's Mabel? 
That's fine. Say, meet a friend of mine. 
Lew — Mr. Blank of Kansas City. Good scout. 
Drop in and see him sometime. ..." 

Lew slapped them both on the back. Said 
he was glad to see his friend again and in- 
vited them both out to the house. 

When they had gone Lew said to the friends 
at his table: 

"I don't remember that man at all, but he 
must know me awfully well." 

Later in the evening the gentleman in 
question found Lew in the lobby. "You're 
a great guy, Lew," he said. "You don't know 
me at all. I've never seen you before. I 
was just trying to impress this friend of mine 
from out of town." 



JERRY HOFFMAN, column con- 
structor for "Vanity" paper, and 
one of Hollywood's favorite racon- 
teurs, tells about meeting the actor 
at a talkie review. 

"It's a great picture," declared 
Jerry, amiably, in that quaint Holly- 
wood fashion. 

"Great? Don't I know it. The 
director has just asked me to come 
to the studio in the morning and 
make a trailer taking six bows." 

A RTHUR CAESAR was initiated to his 
■**-first conference. 

He was faced by a group of long faced, 
serious looking individuals. Nobody smiled. 
Nobody spoke. 

Arthur entered and shouted, "What! No 
sound?" 

TTIERE is a very interesting rumor in 
-'- Hollywood. 

It seems that Warner Brothers wanfed 
George Jessel to play the title role in "The 
Jazz Singer" but were unable to give him the 
money he demanded. 

Al Jolson agreed to do it for a block of 
Warner stock. He was given the stock when 
it was selling at 20. Now it has gone up to 
125 and Jolson, so "they" say, has made a 
neat little pile. 

It will buy Ruby a couple of bracelets 
anyhow. 

"DERT LEVY tells this one on Gus Edwards. 
•'-' "Gus never listens to a word that is said. 
He's always too busy," says Bert. "Every 
time I see him he asks, 'How's the wife?' 
and is talking to somebody else before I 
have a chance to answer. The other day he 
did this once too often. 'How's the wife?' 
he asked. 

" 'She's dead,' I answered. 

"'That's great,' said Gus. 

"Five minutes later he asked me, 'How's 
the wife?' " 

A RTHUR CAESAR'S smart cracks are as 
■'^•popular along Hollywood Boulevard as 
they were on Broadway. Caesar, writing 
talkies for Fox, tells that he mentioned Achilles 
in one scene. 

"Take it out," said the producer, "it takes 
up too much footage." 

' I 'HE M.-G.-M. studios have a quaint custom 
■^ of putting the actresses on the top floor 
of the dressing room building and the actors 
on the ground floor. 

On the steps leading upwards, this legend 
is painted: "Men not allowed in ladies' chess- 
ing rooms." 

A certain well known actor acquired a crush 
on one of the women stars during the making of 
a picture, and trained his Enghsh sheep dog 
to run up the steps to the ladies' dressing 
rooms. 

This necessitated the master going after 
him, thus presenting an opportunity for a 
chat with the star. 

But the crush is over now and the actor is 
interested in no fair one. The dog, however, 
having learned his lesson well, still insists upon 
tearing up the steps, much to the annoyance 
of the actor; so the other day the actor stood 
at the bottom of the stairs and shouted, 
"Dumb dog! Come back here. Why do you 
persist in running away?" 

MY dears, another good janitor was sent 
to the dogs the other day when "Rivits" 
Jackson, who sweeps up at First National, 
was given a "bit" by George Fitzmaurice in 
"Stranded in Paradise." 



Every advertlsemcnl in PHOTOPLAY MAGAZINE Is guaiactced. 



Photoplay Magazine — Advertising Section 



lo- 



The Shadow Stage 



I CONTINUED FROM PAGE 76 J 



THE SHOPWORN ANGEL— Paramount 

WARTIME lovesong in ultra-modern jazz 
tempo. A blase show girl plays inspira- 
tion to a dumb doughboy in a Jersey training 
camp. Nancy Carroll, as the merry magda- 
lene, makes naughtiness so attractive that 
we're with her, right or wrong. Paul Lukas' 
suave sophistication and Gary Cooper's charm- 
ing boyishness are effective foils for the 
scintillating Nancy. An unexpected and 
artistic ending saves this from the tawdrincss 
of the usual city-girl, country-boy picture. 

THE JAZZ AGE—FBO 

"LXEY! hey! Also whoopee! You might as 
-'■ -^well settle down to a long siege of pictures 
Uke "Our Dancing Daughters." As the title 
implies, "The Jazz Age'' is another e.\pose of 
the doings of the wild young bloods of today. 
Douglas Fairbanks, Jr., and Marceline Day 
are flaming youth at its most flaming, but for 
the most part the picture is just a bad imitation. 

RESTLESS YOUTH— Columbia 

npHIS story is as familiar as the toothache. 
■'• A girl is locked in a hotel room but virtue 
triumphs. The father of her sweetheart is a 
member of the school board that expelled her. 
He offers her money if she will gi\e up his son. 
She attempts to kill the boy's love by getting 
herself compromised, ilarceline Day is good 
but Ralph Forbes gives a drab performaTice. 

THE ONE MAN DOG—FBO 

THIS dog, Ranger, does everything but fry 
the eggs and bacon for breakfast. He takes 
direction nicely, but the demands put on him by 
the scenario writer tax the credulity. The j'arn 
concerns two war pals who get involved in 
murders. If you like dog stories. 

THE SPEED CLASSIC— Excellent 

AN auto racing picture, just like all the 
other auto racing pictures since the dawn 
of gasoUne. The young hero enters a race 
which is supposed to bring him wealth, fame, 
and love. Ah, yes, even love. But for some 
irrelevant reason, he's jailed a thousand miles 
from the track at the eleventh hour. After he 
wallops the Mexican army, the demon speed 
yanks himself the length of Cahfornia in 
twenty minutes. Aren't movies wonderful? 

EVA AND THE GRASSHOPPER— UFA 

T_TERE is a real novelty in which the human 
^ -'•actors are surpassed by a group of insects. 
The human story is of a carefree dancing girl 
and her more industrious sister, with an anal- 
ogy shown in the old fable of the grasshopper 
and the ant. This picture was made before 
CamiUa Horn's American debut and fails to do 
her justice. If you yearn for something differ- 
ent, see this. 

THE FLYIN' BUCKAROO—Pathe 

JUST another 'U'estern, with less action than 
usual. WaUy Wales exchanges his broncho 
for an airplane in this one and provides the 
wanted thrill by jumping from the plane with 
a parachute, landing right into the bandits' 
lair. Of course, he captures them all. 

THE SOMME—New Era 

npHIS may be the British conception of 
••• pleasant entertainment, but it isn't ours. 
The Somme campaign of 1916 is re-enacted for 
the benefit of those still interested in war pic- 
tures. There is no plot, no romance and little 
humor; it is grim warfare at its worst. A sin- 




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Photoplay Magazine — Advertising Section 




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cere effort has been made to give an accurate 
version of this famous campaign, but no ex- 
aggerations were necessary to make it a 
gripping, if rather gory, picture. 

SMALL TOWN SINNERS— Hugo Brahn 

V\ 7HILE this is e.xploited as a comedy of 
** Germany's "Main Street," most of the 
action takes place in a barroom. .A dotty 
grandpa who goes about tearing up the place 
and an affair between wifey and an inspector 
furnish the plot. IMild. 

THE LOOKOUT GIRl^Quality 

nPHE lady in the case exacts a promise from 
•*- her husband that he will not question her 
about her past. The reason, dear children, is 
that the lady is a crook who has gone straight. 
The plot becomes qu'te comphcated but clears 
up in some mysterious fashion and everything 
manages to be "hotsy-totsy" with JacqueUne 
Logan safe in Ian Keith's arms. Unworthy of 
your attention. 

THE GUN RUNNER— Tijffany-Stahl 

A FROTHY but picturesque tale of gun- 
-'*■ runners in one of those equatorial repub- 
lics where the president presides by the grace 
of circumstance and a steel vest. Ricardo 
Cortez is graceful in the role of a dashing officer 
detailed to wipe out a nest of rifle peddlers. He 
faUs in love with the outlaw's sister and, in the 
hectic heat of the tropics, duty and love battle 
over his heroship. Both win. 

BLOW FOR BLOW— Universal 

npHAT nonchalant musketeer of the equine 
•'• opus, Hoot Gibson, again glorifies law and 
ginger ale. This story deals with a renegade 
town where sheriffs are just so many bull's 
eyes. Hoot manages to confound his enemies 
and win the girl, but there's a surprise finish 
you'll enjoy. A good Western. 

A MAN'S MAN—M.-G.-M. 

LIVELY satire on Hollywood life as it isn't. 
William Haines plays the straight role, in- 
terspersed with his brash comedy, of a four- 
flushing soda jerker with a penchant for an 
elk's tooth, a personality school diploma, and 
a movie-struck wife. With these liabilities, 
he stoops to conquer, but stoops too far. Jose- 
phine Dunn, Mae Busch, and Sam Hardy all 
give startlingly real characterizations. 

THE OFFICE SCANDAL— Pathe 

THIS comedy drama, revealing actual news- 
paper life, is a laugh riot. Phyllis Haver is 
at her best as a hard-boiled little sob sister con- 
stantly at war with the city editor, who thinks 
girl reporters belong on the household page. 
During the journalistic lull of a sensational 
murder case, she gets a down-and-out but bril- 
liant newspaperman a job on her paper. Love, 
scoops and mystery — and an e.xcellent cast. 



STOOL PIGEON— Columbia 

A SIMPLE but well-developed story of 
•'*■ inter-gang rule, with Olive Borden and 
Charles Delaney heading a prominent cast. 
Because a young boy with a winning smile and 
an honest desire to go straight tries to quit the 
"racket," the gang hounds him, believing that 
he'll squeal. Fast moving and fuU of sharp 
suspense. 

DOMESTIC MEDDLERS— 
Tiffany-Stahl 

"pOR anyone who had not already seen several 
■'- thousand miles of triangle pictures, this one 
would probably be vastly entertaining. A self- 
styled Don Juan makes a play for his em- 
ployer's beautiful wife but is repulsed. Luckily, 
the lady loves her husband. 

HUNTINGTOWER— Paramount 

TMPORTED Scotch— the real thing! But 
-'■wait, we'll explain. Paramount bought a 
British-made picture that's just as Scotch as the 
spirit of thrift. Though it doesn't pretend to 
give you a story, it gives plenty of atmosphere. 
Jovial Sir Harry Lauder had best stick to High- 
land yodeling. He attempts to give himself 
to the cinema, but, unaccustomed as he is to 
giving 

NOISY NEIGHBORS— Pathe 

A COMBINATION comedy and mystery 
-*»■ play. Amusing in spots but you won't 
laugh yourself to death. Too much shopworn 
slapstick and trite melodrama. The story deals 
with the adventures of a cheap vaudeville 
troupe, played by the Quillan family, who be- 
come invoh'ed in a Southern feud. They es- 
cape the feudists by means of contrivances used 
in their magic act. Only fair. 

THE APACHE— Columbia 

A NOTHER romance of two sweet kids in the 
■**-Latin Quarter, The story is poignant and 
Phil Rosen's direction is casual and easy. Mar- 
garet Livingston does a really excellent piece of 
screen work as a dancer in an Apache cafe. 
Don Alvarado, as a provincial youth gone 
Apache, and Philo McCollough, the heavy, are 
both good. 

THE RAINBOW— Tiffany-Stahl 

A SLICK crook stages a fake gold rush on 
the edge of Death Valley. But he's not 
quite slick enough to escape the mob's fury 
when they find the gold pot is a mirage. 
Though the theme isn't epical, Reginal Barker's 
direction had made a strong psychological 
drama. Dorothy Sebastian, Sam Hardy, 
Lawrence Grey, and Har\'ey Clarke head the 
well-chosen cast of this colorful picture. 



Going Hollywood 



[ CONTI.VUED FROM PAGE 31 



at five daily. Because of the business hours 
she keeps, they point her out on the lots as she 
passes by. This same idea cost Conway Tearle 
his position in pictures. Most stars accept the 
inevitable delays and work from six in the 
morning till midnight, when need be. Some- 
times they keep these hours for weeks at a 
time, all the while simulating death or sorrow 
or fear or whatever the scenario demands. 

Mornings, noons and nights of make-beUeve; 
physical, mental and emotional exhaustion 
following fast on the heels of the exaltation all 
artists e.xperience in the actual creation of their 
work. And then by way of rest a visit to the 
projection room to watch themselves twenty 



times life size upon a screen, or a swift glance 
through a dozen magazines weighted with their 
photographs and accounts of their most insig- 
nificant actions. 

Most players, directors and producers come 
to consider themselves the center of the uni- 
verse. So also do the writers, the world 
famous novelists, the celebrated dramatists, 
who stay too long among the lotus-eaters. 
And, not to be disloyal to the craft, so do 
writers for fan magazines, ' ' Going Hollywood 
sweeps 'em like a plague. It takes a super-man 
or woman to cultivate enough philosophy, 
enough sense of humor, enough balance to 
build up a resistance against the infection. 



Every ailvertisement in PHOTOPL.W M,\G.\ZIN'E is guaranteed. 



Photoplay Magazine — Advertising Section 



105 



What happened to Dolores del Rio has 
happened to countless others. She overworked, 
going through two whole years without a single 
day of rest. She suffered the soul agonies of 
"Resurrection." She endured days in the 
frozen North for "The Trail of '98^ She 
created a vivid, passionate "Carmen." Her 
egotism grew as her fame and salary increased. 
Her days were a sort of dazed whirl but every- 
one else she met was in the same whirl. The 
other stars, Carewe, her director, even the 
sun and the suave warmth of the climate titled 
in. Everything fitted in e.xcept Jaime. Jaime 
stayed outside, stayed real. 

DR. VICTOR PARKIN, consulting psy- 
chiatrist of the general hospital of Los 
Angeles, has coined a name for such a state of 
mind. He calls it "Phantasia Hollywoodii" 
and defines its reactions thus: 

" People go to Hollywood because of a wish. 
They long to be something other than what 
they can be in the world of harsh reality. In 
other words, it is a flight from actuality that 
sends them Hollywood bound. 

"Then comes a psychic infection of numbers. 
That's the worst of this Phantasia. It's 
catching. It's the contact of people with 
similar makeups who are constitutionally 
inadequate. 

"They don't trade ideas as much as they 
exchange longings. 

"In their spare time they develop fancies. 
What happens to them isn't a form of dementia. 
It is a form of mental alienation in which they 
live in a world of fantasy. They live in a state 
of mental exaltation and this gives rise to 
grandiose ideas in which the individual tries 
to delude, not only others, but himself as well. 
In this state they are sincere." 

So Dolores del Rio was sincere in her aliena- 
tion from Jaime. Their status had completely 
changed. In Mexico City she had been Jaime 
del Rio's wife. In Hollywood Jaime became 
Dolores del Rio's husband. The situation was 
intolerable for both of them. Dolores believed 
she was out of love with him. There was 
propinquity and Mr. Carewe. 

I fancy that Jaime, with the clairvoyance of 
true love, always knew that Dolores wasn't 
really out of love for him. Certainly he never 
ceased his love for her. But because of it he 
violated his religion and upbringing and gave 
her a divorce, since it was the thing she wanted. 

There had been another love of this calibre 
in Hollywood, a love a little less conspicuous, 
a little less easy to write about since it never 
reached the marriage state, the love of Mauritz 
Stiller for Greta Garbo. 

NO one knows the real Greta Garbo. No 
one ever will. She is a woman who walks 
by herself. She is more truly of the artist blood 
than the warmly human del Rio, and to that 
extent she will always be more self-sufficient. 
Yet plainly Mauritz Stiller meant much to her. 

It was because of Stiller that Garbo origin- 
■ ally came here. He had refused to sign a 
contract with Metro-Goldwyn-Mayer unless 
they also gave a contract to his young protegee. 
Miss Garbo. They landed here together. 
Stiller, the great personality; Garbo, a badly 
dressed, shy, gawky girl. 

Then Hollywood got them. 

Stiller failed in Hollywood. The reasons 
aren't completely clear. He was a tempera- 
mental Swede accustomed to authority. He 
wanted to take time with scenes, to be overlord. 
The Hollywood film machine wouldn't let him. 

His first American picture was also Garbo]s 
first. When it was half finished, they took it 
away from him and gave its direction over to 
Fred Niblo. But they kept Garbo. -They had 
seen her rushes and knew how pood she was. 

Can you conceive how it must have humil- 
iated Stiller's haughty pride to dine nightly 
with the girl he had discovered and know she 
was working toward stardom under the direc- 
tion of another man on a picture from which 
he had been discarded? 

And because every woman deep m her soul 
wants to worship the man she loves, wants to 



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Photoplay Magazine — Advertising Section 




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look up to him, can you see how this same 
situation must ha\'e humbled Garbo? 

You know what a triumph her first picture 
was and how, in a day, her fame rushed round 
the globe. And how with each succeeding 
picture her fame grew more vast; how she 
e%olved from a gangling Swede into a sophis- 
ticated enchantress; how her salary leaped 
from S200 to something close to $7,000 a week. 

Garbo was a success. Stiller left Metro, 
went to Paramount. Everyone thought con- 
ditions there would be easier for Mm. But 
something happened there, too. He made a 
picture with Pola Negri, another with Jannings. 
They were distinguished failures. 

Stiller was just as loquacious as Garbo herself, 
which means as talkative as a bank vault. 
I once asked a foreign star, who had known him 
in Germany, if she thought the elderly Stiller 
loved the glamorous Greta. 

"I believe he wakes mornings and goes to 
sleep nights whispering 'Greta Garbo, Greta 
Garbo,' " she said. 

Finally Stiller sailed back to Sweden, de- 
feated, alone. Not a word was heard of him 
until his sudden death was announced. 

Now Garbo is rushing back to Sweden in 
what looks close to panic to visit Stiller's grave. 

Staid citizens of middle-class cities go out 
to the South Seas, forget their sane middle-class 
conventions and take native wives, go native. 

No less do beautiful, talented people on 
encountering the siren quality of Hollywood, 
go Hollywood. 

The sad case of Pola Negri is, of course, 
classic. She went so Hollywood she forgot all 
about art, all about acting in its realest sense, 
and used the death of a great actor as the 
vehicle for a cheap scene staged for a gullible 
press. 

"YOUNG James Murray, once an usher at 
■'■ the Capitol Theater, New York, got a break 
when King Vidor picked him from the e.xtra 
ranks to become leading man in " The Crowd." 
Jimmie was a nice boy and a good actor, but 
the jump from "Right this way, please," to 
"here comes the star" proved too much for 
him. 

He ritzed his friends and harangued studio 
officials. The studio forgave and offered him 
fresh opportunities. Jinimie refused to demon- 
strate his genius except for being the perfect 
sap. Today nobody knows what his future 
holds. And few care. 

Nazimova was the first of the really big 
players to go Hollywood. Today she is playing 
second fiddle to a much lesser actress, Eva 
LeGallienne, in a tawdry theater on Fourteenth 
Street, New York. When Mae Murray got 
to be queen of the studio she forgot old friends. 
Now she has gone M'Divani Uke Pola Negri 
and her meal ticket is a vaude\'ille act. 

Charlie Ray,a simple lad at heart, went goofy 
over black marble bath-tubs, swimming pools 
in the back yard and similar swash. Charlie 
tried to do everything on "The Courtship of 
Miles Standish" e.xcept play Pl>'Tnouth Rock. 
Miles pro\'ed a bad case of bo.x office frost- 
bite. Charlie lost his private fortune and 
swelled head. He made a valiant struggle to 
come back. But it was too late. 



When Harry Langdon, who had been an 
obscure comic at Sennett's, first went to First 
National to do fuU length features he could 
practically have pulled a Salome, demanded the 
head of the company's president on a platter 
and have gotten away with it. 

The studio, in attempting to do right by 
Harry, did the most fatal thing they could. 
They gave him his way about everything. 

Harry went completely haywire. He got 
himself so wrapped in stardom he went six 
months without hearing a single "no." 

But he heard plenty of "no's" when the 
reports came in from the exhibitors who had 
showed his pictures. When his contract ran 
out, he wasn't re-signed. 

COMETIMES I think Hollywood is the sad- 
'^dest place in the world because it is a com- 
munity where the maddest dreams come true. 

The climate does weird and wonderful things 
to the youth and beauty that comes pros- 
pecting for gold and glory in the films. 

Hollywood gets the Kleig-struck kids from 
Kamm's corners and the stars alike. Daft with 
sunshine and talk in six figures the humblest 
soul is inclined to break out with rapid pulse, 
snakeskin sandals, cerise Fords, tall millinery 
and Napoleonic impulses. Then they start 
going in for nutty affectations and upturned 
nostrils when they encounter those who knew 
them when. 

It might be funny if it weren't so tragic. 

To the sensitive, it isn't easy to watch rosy 
cheeks turn into vermUion splotches or soft 
bright locks become lifeless under ammonia 
and peroxide. It isn't comfortable to observe 
stars who have faded or never arrived; stars 
grown stale and old; stars whom the high 
hat ruined socially and professionally; those 
who couldn't leave snicker water or the play- 
boys alone. 

(OCCASIONALLY talent burns in a sunple 
^^soul vfith the purity of a flame in an 
alabaster vase. Such a combinarion produces 
a Janet Gaynor. 

But more often realized talent acts hke a 
drug against the actualities of life. The 
individual goes gold-crazy, sex-crazy, fame- 
crazy and gets childishly defiant of fate. 

When the dream is first realized the lucky 
ones are gay and triumphant, fuU of beauty, 
success and self-satisfaction. They ignore the 
histories of those who have gone before them 
and renounce love and gallantry as evidences 
of weakness. 

They believe they have all life within their 
grasp and indulge their slightest caprice. There 
is only self, self, self and the glorification of self. 

Slowly the dream tarnishes and their fame 
becomes dead sea fruit. They awaken to the 
realization that something has gotten them but 
they don't know what. 

The answer hes, as it was written many 
centuries ago in the greatest of books. 

"For what shall it profit a man, if he gain 
the whole world, and lose his own soul?" 

The saddest person in Hollywood is not 
always the extra who fails and goes back home. 

.'Ml too frequently it is the one who stays 
and wins stardom. 



What Are Your Correct Colors? 



[ CONTINUED FROM PAGE 81 



your assets and even more carefully, your 
defects. Then, when trying on the colors 
recommended for your type, determine just 
what nuances of color do the most to improve 
your appearance, emphasize your personality, 
and to hide from the world those imperfections 
which should remain your little secret. 

The \'ivid brunette, she with the vivid red- 
orange coloring in cheeks and lips, warm orange 
background coloring in her skin, dark, but 
definitely colorful hair with coppery high 



fights, with dark eyes showing the same rich 
brown coloring, is indeed fortunate. Her vivid 
forceful coloring expresses a strong personality, 
one that is not easily hidden or subdued, by 
strong colors in the costume. She can wear 
stronger, more diecided colors than any other 
type. Delicate pale colors should however be 
avoided for they tend to make her coloring 
appear coarse and heavy by contrast. When 
light colors are worn they should be the warm 
orange and red-orange tints. 



Every advertisement in PHOTOrLAT MAGAZINE Is guaranteed. 



Photoplay Magazine — Advertising Section 



lo: 



Dark warm colors may be fairly intense. 
Rich dark reds, deep dark browns, warm tans 
and rosy beiges, sometimes dark rosy grays or 
taupes, black if the skin is clear, are all flat- 
tering. 

Medium values, those neither light nor 
dark, in warm rose and coral shades, which 
of course are really red and red-orange, golden 
oranges, yellow-orange and dull creamy yellows 
deserve a prominent place on the list of colors 
becoming to the brunette with vivid coloring. 

If she has a clear healthy skin she may find 
green, especially dull greens which have been 
neutralized until they are less aggressively cold, 
wearable — but seldom as flattering as warm 
colors. Blues should be avoided in almost all 
instances. Violets are e.xtremely doubtful, 
frequently giving the skin a dark greenish 
cast. 

Warmer red-violets may be permissible, if 
the complexion is e.xtremely good — but why 
should any vivid brunette wear them when 
the red-oranges are infinitely more becoming, 
harmonizing with and emphasizing her own 
rich coloring? 

THE brunette with olive skin, frequently 
called the Latin t>'pe, not only has less vivid 
color in lips and cheeks, but her background 
coloring is more subdued. Its orange tone is 
more grayed or neutralized so that it appears 
almost yellow green rather than a pure orange. 
This coloring is distinctive, interesting, pos- 
sesses a subtihty which gives character to the 
individual. 

It may of course be modified by the use of 
rouge and lipstick, making the flesh tints more 
vi\id, in which case colors more nearly like 
those worn by the vivid brunette may be 
recommended. 

The brunette with olive skin, however, does 
well to dress so that her unusual hues arc 
emphasized, not changed or concealed. She 
may do this by wearing warm colors which 
have been neutralized until they assume a 
dusky, grayed, shghtly olive cast. Vivid 
warm colors may also be worn, \-ivid reds and 
oranges, dark warm colors and those of medium 
value, even slightly lighter than those worn 
by the vivid brunette may be worn when the 
skin is clear. 

Red-violet is frequently becoming although 
red-orange deserves first place in the wardrobe. 

Softened grayed cool colors, those which 
have been neutralized until the coolness has 
taken on a tinge of warmth, soft olive greens, 
dark dull greens, very dark navy blue, are 
sometimes e.xtremely becoming, especially 
when worn with an accent of warm color. 
Light and bright cool colors, particularly blue, 
make the skin seem dark and too yellow. 

T^HE olive skin does not possess sufficient 
•*• color to permit the wearing of decided neu- 
tral tones unless accents of stronger color are 
combined with them. Warm beiges and 
browns, those decidedly orange and red-orange 
rather than yellow are most pleasing of the 
neutrals. Warm rosy grays, particularly rosy 
taupe, may be worn if the skin is clear. Black, 
especially when combined with an accent of 
warm color, emphasizes the individual's truly 
distinctive coloring. 

The cool dark tv-pe, the brunette with cool 
skin, blue-black hair, frequently with eyes of 
cool color, possesses little in common with 
other brunettes, although she is frequently 
confused with them, may herself make the 
mistake of dressing like them. She is however 
so different in actual coloring that we shall 
consider her color problem in a later article. 



Next month Miss Hempstead 
will write about the correct color 
for blondes. And PHOTOPLAY'S 
cover will be a color chart for girls 
with light hair and blue eyes. 
Watch for the color chart and 
article in the March PHOTOPLAY. 





our 



HAIR 



Has Added Loveliness 

— when Shampooed this way 

Why Ordinary Washing .. fails to clean properly. 
Thus preventing the . . Real Beauty . . Lustre, 
Natural Wave and Color of Hair from showing 



THE beauty, the sparkle . . . the gloss and 
lustre of your hair . . . depend, almost 
entirely, upon the way you shampoo it. 

A thin, oily film, or coating, is constantly 
forming on the hair. If allowed to remain, 
it catches the dust and dirt — hides the life 
and lustre — and the hair then becomes dull 
and unattractive. 

Only thorough shampooing will . . remove 
this film . . . and let the sparkle, and rich 
natural . . . color tones ... of the hair show. 

Washing with ordinary soap fails to sat- 
isfactorily remove this film, because — it 
does not clean the hair properly. 

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[ CONTINUED FEOM PAGE 45 ] 



taking jobs in city after city, but always closer 
to her golden goal — Hollywood. 

"For six days of the week, she labored — 
wiping the children's noses, picking up their 
toys, coaxing them to eat their stewed prunes 
and cereal. On the seventh, which was 
Wednesday — her day off — she rested by 
spending every minute at the movies. 

"CHE found one theater down town that 
'-' opened at eleven o'clock in the morning. 
Very often she sat through the show twice, if it 
was good, or if one of her favorite stars was 
playing. When it was over, she went to another 
picture theater and then another, ending up 
with her sixth at eleven o'clock at night. She 
didn't bother about meals. Just snatched some 
orange juice at a counter and nibbled chocolate 
almond bars in the dark theater, while she 
tingled and thrilled to the screen romances that 
went on before her eyes. 

"She'd never had any romance of her own. 
Back in Scotland so many of the boys went off 
to war and didn't come back. There were at 
least three girls to every male of her age. What 
chance was there for plain little Effie? 

"When she first came to us, she did have 
a little flutter about the milkman. She made a 
point of taking the baby down into the kitchen 
every morning for his six o'clock feeding. Joe 
delivered the milk about that time and when 
Efiie saw his handsome broad-shouldered figure, 
clad in blue jeans like a he-man hero, she fell 
for him immediately. 

"Then she found out from othermaids in the 
neighborhood that Joe's remarks were merely 
his usual line — he considered it part of his 
business to 'kid 'em along' at all the houses 
where he delivered milk. So, as she never 
could get any real attention from him, she had 
to fall back on the movies again. She satisfied 
her starved life by putting herself in the hero- 
ine's place in every screen romance she saw. 



and of course, to her, every hero was the milk- 
man. 

"Then she saw Jack Arden's first big hit. 
"Vou remember what a sensation 'His Night' 
was? After EfSe saw that, she didn't bother 
about the milkman any more. When she 
watched that dashing curly-haired, glowing- 
eyed Prince of American lovers, she sat back 
in the tense darkness of the theater with her 
chocolate almond bar forgotten and melting, 
in her plump warm little hand. 

"Jack wasn't making love to whoever was 
lucky enough to be his leading lady at the 
moment. It was Effie Brown he was making 
love to. It was for Effie he dared and fought 
and vanquished the villain. And in the final 
closeup, it was Effie Brown he smothered to his 
manly chest and kissed with an overwhelming 
two foot passed-by-the-board-of-censorship 
kiss. But you all know what Jack Arden can 
do in a two foot kiss ! 

"HTHIS had been going on for about six 
■^ months, when I invited Jack to dinner. It 
was a big party, and I needed extra help. How- 
ever, the baby was having a new tooth and 
Efiie had been up with him three nights in suc- 
cession, so I told her she didn't have to wait on 
the table. Just help with the preparations and 
serve as maid in the upstairs bedroom, where 
the women guests were to leave their wraps. 

"As usual, I ran over the Kst of those who 
were coming, with Effie, because I knew how 
much pleasure it gave her. But she was so 
tired that, for once, her eyes didn't sparkle in 
response, until I spoke Jack Arden's name. 
Then all her fatigue and weariness left her. 

" 'Jack Arden, Ma'am! You've never had 
him here before,' she said a bit reproachfully. 
' Oh Ma'am, you must let me wait on the table. 
The extra waitress will never be able to handle 
such a crowd. I couldn't bear to miss it! I'm 
not tired a bit, really. And I couldn't see half 




Cecil B. De Mille goes to work for Louis B. Mayer 
"Yes, Mr. De Mille." 
"Yes, Mr. Mayer." 

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enough of Jack Arden by peeking through the 
bannisters from upstairs.' 

"When Jack arrived, an hour and a half late, 
he was in his best — or you might say his worst 
— form. He was rude as the devil to his dinner 
partner, the kittenish wife of a big producer, 
whom, for business reasons, I particularly 
wanted to have a good time. After dinner, 
when the bridge tables were set up, Jack voiced 
his scorn of those who waste their evenings at 
cards. He wouldn't take up bridge, because 
he couldn't show up as a brilliant player with- 
out months of practice. He went into a dusky 
corner and held the hand of a certain young and 
bewitching star with whom his name has been 
connected — and disconnected — a year ago. 
Just when she was getting interested, he left 
her flat to call up a Broadway musical comedy 
favorite, by long distance, thereby adding the 
finishing touches to some gossip about them 
that had been circulating of late. 

"TN spite of the fact that we were all trying 

■I- to concentrate on our cards, he insisted on 
tuning in the radio to a noisy prize-fight. And 
when the players finally gave up protesting, he 
suddenly turned it off and curled up in a corner 
by himself, absorbed in a book of old prints. 
A little later, somewhat to my mystification, he 
disappeared entirely, without bothering to say 
goodnight to anyone. 

. "It wasn't until EfEe resigned a couple of 
months later, that I found out what had really 
happened. It seemed that when Jack disap- 
peared, he didn't go home at all, but made his 
way to the kitchen to explore the ice-bo.x. I had 
noticed, and writhed to notice, that the dinner 
I had spent such a long time planning, was 
practically ignored by his highness at the table. 
In fact. Jack had nibbled nothing but crackers. 
So now he was hungry and on the trail of cold 
chicken and left-over salad. 

"It was here that Effie came upon him, 
rather pale and harassed and worried looking, 
talking in low tones to that little rat. Art 
Saunders. Effie didn't mean to Usten, but she 
told me that after the first words, she was so 
worried, she just couldn't break away. 

" ' For God's sake. Art,' Jack was pleading, 
in his best movie-tone voice, 'Lend me twelve 
hundred dollars.' 

" 'But— but— but— 'stuttered Art. 

" 'I tell you I'm in a hell of a fLx. Can't 
sleep, can't eat, can't even act, I'm so worried.' 

" 'But Jack, I can't believe you could need 
money. Everyone knows how much you 
make.' 

" 'Yes, people think just because I'm a big 
star my money troubles are over. But they 
don't realize what a lot it takes to keep me 
going. There's alimony and income ta.x and 
I was simply cleaned out on that last stock 
flurry. I owe four years back income tax with 
the government handing me a fat fine for false 
returns.' 

" 'TT'S awful, but wait 'til you hear my tale 

-*■ of woe about income ta.x — ' began Art, 
but Jack cut him short and went on. 

" 'I even sold my roadster, so I'd be able 
to square a few things, but I forgot I hadn't 
made all the payments on the car. Maybe the 
loan shark who talked me into almost giving 
it to him isn't sore as blazes. He threatens jail 
if I don't pay up tomorrow.' 

" 'But surely you ought to be able to bor- 
row.' Art was edging uneasily towards the 
door. Jack followed and laid a desperate 
hand on his arm. 

" 'Art, this gang's generous all right, but 
not to me. They all say they know me too 
well. The company has stood behind me so 
far, but they're fed up now and think I need a 
lesson. You're my last hope — ' 

" 'I'm deuced sorry, but I'm so flat — ' Art 
had his hand on the knob. Jack dropped back 
hopelessly. 

" 'If you knew how I was counting on you. 
If I can't get twelve hundred to settle for that 
car, tomorrow, it means jail — that is, if I'm 
alive when they call for me.' 

"Jack's voice broke with a pathos that cut 

when y 




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Effie to the heart. You can imagine the effect 
of the situation on her. The hero of her 
dreams, broke, facing jail, suicide! She 
listened in silence until Art had scurried away 
in his rat-like fashion. 

"Then she walked right up to Jack, and 
spoke, as she described it, in a voice that didn't 
sound like herself at all. 

" 'Please e.xcuse me, Mr. Arden, but I can 
save you.' 

" ' You save me?' Jack looked down at the 
little figure in complete amazement. I can just 
see the scene, with Effie standing there, the 
center of a tableau for once in her life, imagin- 
ing herself a sort of Joan of .•^rc, or rather the 
heroine of a Super-Special, her pale eyes flash- 
ing lire. 

"T'LL give Jack credit that he didn't burst out 
-•■ laughing, though as Effie described it, he 
seemed to be quite choked up with emotion. 
When he recovered himself, he said: 

" 'But how — my sweet child? What could 
you do?' 

" 'You see sir, I've got quite a lot over 
twelve hundred dollars saved up. I thought 
I'd take a trip back to Scotland with it, or 
buy some lots in Studio City, but oh, Mr. 
Arden, if you'd only take it, how proud and 
happy I'd be.' 

" 'l\Iy dear bank president's daughter, of 
course I can't let you lend me — ' 

" 'Oh please don't joke sir, I didn't mean 
lend. You're so in debt you'd never be able 
to pay it back. I want to give it to you.' 

" 'Give me twelve hundred dollars!' Jack 
gasped. 

"'Yes sir. I don't really need it. It's easy 
to save money, being a nursemaid. I don't 
have any expenses except carfare and movies 
and they hardly make a dent in the eighty 
dollars I get every month. It wouldn't be 
more than a couple of years until I'd have that 
much saved up again, so if you'd only take — ' 

" 'You want to give me all that money and 
you don't want anything in return?' Jack 
couldn't get it through his head somehow. 

" 'No,' said Effie, 'just — ' 

" 'Just what?' asked Jack, a harsh note in 
his voice. Life had taught him to e.xpect a 
catch in any generous offer made him and he 
thought he had it at last. 

" 'Well sir,' Effie's voice trembled slightly, 
but she went on and I've always admired her 
Scotch directness in coming right to the point. 
'If it wouldn't be asking too much, I'd like you 
to take me out for just one evening.' 

" 'What!' Jack was floored for once in his 
Hfe. 

" 'Oh sir, you wouldn't have to be polite or 
even talk, if you didn't want to. You could 
even go to another party afterwards. I have 
to be in by ten on account of the baby.' 

" 'But I don't quite see how my taking you 
out — ' 

" '(^H sir, what it would mean to me to be 

^-^ all dressed up and have people see me 
walk into a restaurant with you! 'To have all 
the waiters bowing and scraping! To sit oppo- 
site you and eat all kinds of fancy foods, like 
in a DeMille picture! Oh won't you do it, sir, 
please, please!' 

" 'You mean you want to spend twelve 
hundred dollars of your hard earned money 
just to have me take you out once — we'll say to 
the Montmartre?' 

" 'Oh yes sir. Why not, sir?' said Effie with 
such an air of rapture that Jack argued no 
further. He looked for a moment into her 
shining eyes and then suddenly put out his 
hand. 

" '.\11 right, kid. 'You're on.' 

" 'Oh thank you, sir, and will it be all right 
if I get you the money the first thing in the 
morning?' 

" 'Oh yes, the money,' said Jack casually. 
" 'Let's see, you'd better send it to my secre- 
tary at the studio.' 

" '.\nd you'll really take me to the Mont- 
martre?' 

"Jack looked at her with a twinkle in his 



eyes, which Eifie interpreted as joyful relief 
at his escape from his financial troubles. 

" 'Montmartre, nothing! I'm going to take 
you to the Mayfair.' 

" 'Mayfair!' gasped Effie. 

" 'Yes, the last dinner dance of the season is 
next Saturday night. 

" 'I've got a couple of tickets already, so it'll 
really save me money.' 

" 'CAVE you money? That's fine, sir. But 
^ Mayfair. Oh I never dreamed — ' 

"But Effie was talking to Jack's retreating 
back, for in his impulsive way, he had started 
out of the kitchen. 

"Effie sat there repeating it over and over to 
herself. 

" 'Mayfair! He's going to take me to May- 
fair!' 

"It was as if he had offered to take her to 
Heaven. 

"For the next few days Effie was as scrupu- 
lously careful about the children as usual, 
although I remember that about that time, I 
began to notice a strange far away look in her 
eyes. 

"She had mysterious telephone calls, which 
I discovered later were to do with renting 
a dress and evening cloak from a certain 
costume company in Hollywood that is often 
the salvation of girls starting in pictures. 

" Saturday morning, she came and asked me 
if I'd mind if the cook slept in the nursery that 
night so she could go out for the evening. She 
asked it with that defiant 'You'd better or I'll 
quit' look — the first and only time I'd had it 
from Effie. 

"After the children had been safely tucked 
into bed, she went up to her room to don the 
rented clothes. There was a green chiffon 
gown trimmed with rhinestones and a rather 
tarnished silver lame coat with a white rabbit 
collar, but they looked like a million dollars to 
Effie. 

"She had ordered a simple little corsage of 
lilies of the valley for herself, but just as she 
was ready to go, there arrived, late, as was 
characteristic of Jack, a square white box, 
frivolous with silver ribbon and mahne; — the 
first and probably the last orchid in Effie's 
young life. 

" CHE stole off, in all her splendor, to take a 
^ bus to the Athletic Club where she had 
agreed to meet Jack, not wishing to trouble 
him any more than necessary. 

"He didn't keep her waiting more than 
three quarters of an hour, but it was a year to 
Effie, who had never been late to anything in 
her life. 

"When he finally arrived, he looked more a 
hero than ever in his evening clothes. It 
seemed like a part of a dream as he bowed low 
before her, offered her his arm and escorted 
her out to his glittering foreign car with its 
plush velvet interior, its little crystal electric 
lights, trick vanity case and the fragrance of 
roses from its silver vases. 

"The Mayfair is such an old story to us that 
we forget what a thrill it must be to outsiders. 
You can imagine Effie sweeping down the Pea- 
cock alley of the Biltmore on Jack's arm, 
listening to the admiring 'ohs' and 'ahs' from 
the crowd of people gathered at the entrance 
to the Mayfair to watch the movie stars go in. 

"."^nd once inside — well, I wish you could 
have heard Effie's description. It would have 
handed you the biggest kind of a laugh. The 
whole place was somehow all blazing and 
golden, with diamonds dripping from every- 
thing drippable, as common as icicles at the 
North Pole. The girl stars were all a hundred 
times more beautiful in person than on the 
screen and there wasn't a man on the floor, who 
wasn't handsome and gallant and God-like, 
although of course none was comparable to 
Jack Arden! 

"But what amazed me most was Effie telling 
me how attentive all the men were to her and 
how the girls just fell over themselves to be 
agreeable. Her being with Jack Arden could 
explain a lot, but I got another angle when 



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I I I 



little Jim Purdy came up to me a few days 
later, all excited, to get more dope on the 
Scotch millionairess that Jack had taken to the 
Mayfair that night. 

"It seems that it appealed to Jack s peculiar 
sense of humor to take Ef6e around and intro- 
duce her to everyone, whispering the news that 
she was the daughter of a Scotch Toffee King, 
whose father was just aching to spend a million 
pounds to put her in the movies. No wonder 
she was popular! 

IT must have amused Jack to see Dave 
Wray and Billy Robinson and some of his 
other near rivals dancing with Effie and falling 
all over themselves to make an impression. 
They would have perished if they'd have 
known that they were wasting their most 
brilliant line on a publicity writer's nursemaid. 
But as far as I know, no one ever connected the 
rapturous creature of that evening with the 
prim little thing, who passed vegetables at my 
dinner parties, although I think Jack rather 
hoped they would. 

"Jack didn't dance with her himself until 
late in the evening. Then he pulled her out 
onto the center of the floor and swung her 
around in his lazy graceful way. There she 
was at last, in a position to make every giri in 
America envy her. 

"Dancing at this grand ball in the arms of 
Jack Arden, in person! 

"What were her thoughts — romantic, 
dreamy, ecstatic? Not at all. 

"EfBe confessed that all the time she was 
really praying— a little staccato prayer in time 
to the jazz music. 'Please God — te-tum — 
te-tum — don't — let me step on his toes. Please 
God, don't— let-me-step-on-his-toes !' 

"Oh yes, Jack lived up to his part of the 
bargain all right— even to the very last. I 
know, because I was awakened by the scream 
of brakes, just as dawn was creeping down from 
the mountains. 

"Looking out, I thought I was still dream- 
ing when I saw a glittering town-car drawn 
up at our back door. 

"Then Jack sprang out to hand out EiBe, 
with all the grace and gallantry of a perfect 
Prince Charming. 

"He said goodbye, shaking the hand that 
Effie extended. Then suddenly without any 
warning, he gathered her in his arms and kissed 
her! A moment later he had jumped into the 
car and was off with an airy wave of his hand, 
leaving Effie to gaze after him with a bewildered 
don't-vvake-me-up-I'm-dreaming look in her 

eyes. 

"I wasn't the only spectator to the little 
scene. The milkman had clattered up across 
the street and was loading his wire basket with 
the four quarts of Pasteurized, the one quart of 
Certified and the half pint of cream that he 
leaves at our house every morning. He looked 
up and saw the kiss — and really looked at Effie 
for the iirst time. 

"Then he strode over to her, his face red 
with amazement and anger. 

"He squared off and I thought he was 
going to shake her by the shoulders. But 
instead he fairly shouted at her. 

HO ho, my girl! Going out with the 
movies are you? Well, I want to tell 
you one thing. It's about time, young lady, 
you settled down and got married!' 

"That's how I lost Effie. She left me a 
couple of months later, with profound apol- 
ogies and many tears as she kissed the baby 
goodbye. Of course, she has children of her 
own now— one a year, except the year that 
they got a new car, I believe. Occasionally she 
brings them around on the milk wagon to play 
with ours, at imminent risk of imperiling their 
manners— the milkman's children's manners, 
I mean." 

"Well, by Jove!" exclaimed the Prince, 
"what a story!" 

Then with a faint suggestion of a sneer, ' 'I 
never imagined Jack Arden could be as hard 
up for money as that!" 

" But he wasn't," laughed Ann, "he's one of 




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112 



Photoplay Magazine — Advertising Section 




EARLE LIEDERMAN— The Muscle-Builder 

Author of "Muscle Building." "Science of Wrestling," 
"Secrets of Strength." "Here's Health." "Endurance," etc. 

TheManlPityMost 

POOR OLD JONES. No one had any use for him. 
No one respected him. Across his face I read one 
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the two or three richest stars in pictures, in 
spite of his hclter-skeher manner. He may 
make a fool of himself, but he's too smart to 
let anyone else make a fool of him. He just 
made up that hard luck story to escape that 
dead beat Art Saunders." 

"Then I suppose he returned the poor girl's 
money?" put in Margalo. 

"Not a bit of it," said Ann, still smiling. 

"Well I call that the most caddish — " The 
Prince was delighted that he could really sneer 
this time. 

"No — for all your politeness and under- 
standing of women, you're wrong for once, 
Prince," countered Ann. "Don't you see if 
he'd return the money and EfHe had realized 
it was only a joke on Jack's part, it would have 
spoiled everything. She's luckier than most 
of us. She's got something in her Hfe, she can 
look back on and remember — something per- 



fect — a dream evening, when she dared to 
stake everything for a few hours of happiness. 
No, Jack didn't give her back the money and 
that's why I claimed he's the politest — or at 
least, the most understanding man in Holly- 
wood. 

"Of course I ought to tell you, Prince," Ann 
continued, "that a few weeks later, when we 
were conducting the campaign to furnish the 
studio club, for girls who come out here to 
break into pictures, our largest donation came 
anonymously — enough to furnish and maintain 
a whole corridor of rooms. The only condition 
was that they were to be called 'The EfEe 
Rooms' and they turned out to be the most 
popular in the club — a refuge and comfort for 
girls, who do not take Hollywood as sensibly as 
my Uttle nursemaid did." 

"Well here come King and Eleanor, now — 
and oh Margalo, I am famished!" 



Ten Years Ago in Photoplay 



THIS month a little tow-head named 
Dolores Costello is playing hop-scotch in 
Brooklyn, N. Y., a pretty kid with a 
snub nose. 

Her daddy is "Dimples" Costello, already 
waning as the girls' dream of manly beauty. 

At the same time, in Photoplay, we go for 
an actor named John Barrymore to the extent 
of two pages, with art. 




Jack Barrymore 

Ten years ago Jack was knee deep 
in the thirties and doing such 
farces as "The Man from Mex- 
ico" for the movies 



Jack is in the thirties, with a funny slap- 
dash career already behind him. 

From a silk hat Johnny in stage farce — the 
irresponsible, bad-boy kid of the Barrymore 
tribe — he has turned to silly movie stuff like 
"The Man from Mexico" and "On the Quiet." 
In the thirties he has gone serious, and stunned 
his public with "Justice" and "Redemption" 
on the stage. 

Still ahead are his theater triumphs in "The 
Jest" and "Hamlet." Still ahead is his film 
career as a scented and high-powered lover in 

Every advertisemont In PHOTOPLAY MAGAZINE Is guaranteed. 



Strip tights and a blond wig, with the im- 
mortal profile always to the camera. 

Jack Barrymore, knee deep in the thirties, 
cuts out clowning. A little girl named Dolores 
Costello, not yet in her teens, plays jack- 
straws ^^■ith the Hipkins children next door. 

No spook-faker arises to say that some day 
these twain, taking in something like $15,000 
a week between them, wiU yes each other 
matrimonially in a land of sunshine 3,000 miles 
away. 

STOP the press! Charlie Chaphn up and 
marries httle Mildred Harris! 

Look at the funny picture of Charlie and 
Millie on a Catahna Island yacht! And here's 
a coy one of the girl lying on her tummy read- 
ing a seed catalogue. 

Mildred's eighteen, but she's been posturing 
for six years. "We are very, very happy!" 
they say. Thank God, the future is behind the 
veil! 

npHE learned Julian Johnson, who kisses and 
■'- spanks the films, is all steamed up over Lil 
Gish in Griffith's "The Greatest Thing in 
Life." 

"A sensationally new Lillian Gish!" he 
rhapsodizes. 

No longer the beaten anemone of the screen, 
but a pouting, alluring minx, out for no good. 

Ask yourself how long that phase lasted. She 
takes a licking in her next picture, as usual. 

JUNE ELVIDGE marries a Canadian soldier, 
and seven boys in Pittsburgh take bichloride. 
. . . Cece DeMille knocks 'em dead with "The 
Squaw Man." . . . Nobody in the cast but 
Dexter, MacDonald, Holt, Blue, and Tully 
Marshall. . . . Mrs. Doug Fairbanks gets a 
divorce in New Rochelle and Mickey Neilan 
directs a girl named Mary Pickford in "Daddy 
Long-Legs". . . . Crane Wilbur is a papa and 
the veteran William Shea hears the Great 
Director call "Cut!" . . . Photoplay dis- 
covers that Colleen Moore has one blue and one 
brown eye, and tells the palpitating world. . . . 
Little Olive Thomas is in "Toton," another 
"La Boheme" yarn, and a Mr. Frank Borzage 
directs it. . . . "Humoresque" and "Seventh 
Heaven," a couple of Photopl.-w Medallists, 
still over the horizon. . . . Geraldine Farrar 
writes us the story of her life. . . . Maggie, of 
Norfolk, Va., tells The Answer Man she has 
just made a pious pilgrimage to the house in 
which Francis X. Bushman was born. . . . 
Boy, we take our stars seriously these days! 

WHAT'S this? 
Jack Gilbert, of Ince-Triangle-Para- 
mount, marries Olivia Burwell, a non-profes- 
sional. 

Gilbert— hum— Gilbert. Jack Gilbert. 
Can't place him. Not the head man in this 
show! 



Photoplay Magazine — Advertising Section 



113 



It Gets a Guy Sore 

[ CONTINUED FROM PAGE 67 ] 



The more Mr. Guffey thought about meet- 
ing Dora, the more he wondered how it could 
be worked, but not until the train was rolling 
into Chicago could he salvage an idea from the 
debris of his mind. Why not write a song 
about her? He remembered having read that 
publicity was champagne and caviar to a movie 
star, and this seemed like a plausible racket 
with which to crash the studio. Smirking 
amiably, he cantered up to a telegraph counter 
in the Union Station, and dispatched the fol- 
lowing message: 

PUBLICITY DEPT., AMAZEMENT 

PICTURES CORP., 
HOLLYWOOD, CALIF. 

KINDLY ARRANGE FOR INTER- 
VIEW WITH MISS DELURA ON 
TENTH INSTANT REGARDING 
BEING IMMORTALIZED IN MUSIC. 
STANLEY GUFFEY. 
On finishing this economical essay he wan- 
dered about the cavernous station, gawking in- 
terestedly at the ceiling, the shops and the 
life-term Chicagoans scurrying to and fro. "Of 
course," he informed himself, "I've never 
written a song, but if it comes to the worst, I 
could get me a hymn book and a seven-eighths 
tempo, and do as good a job as any of those 
New Jersey Southerners who weep about their 
mammys. There's a chance that the studio 
may heave me out on my ear, but if I've seen 
Dora first, it's jake with me." He bumped 
into a massive poHceman, and returned to 
normalcy. 

ARRIVING in Los Angeles on the ninth, he 
registered at the Ambassador in order to 
establish the proper background for one who 
wrestles with the muses, and shortly after 
descended to the grill room attired in a talk- 
ative Glenurquhart plaid, matched so.x, tie and 
handkerchief of red and lemon stripes, and a 
pair of the black-and-white tennis shoes 
affected by the people who never play. 

The following morning Mr. Gufiey reached 
the .\mazement Studios, whose tile and stucco 
magnificence seemed to have been designed by 
a couple of architects while on vacation in 
Montreal. The embryo song writer barged 
through the portals and addressed a hard-faced 
gentleman at the information desk. 

"Mr. Guffey to see Miss Delura," he said 
throatily. "Arrangements have been com- 
pleted by wire, so don't keep me waiting." 

Information seized a telephone and talked to 
someone named Joe. Then he hung up, and 
looked respectfully at the visitor. "Please go 
down that corridor," he rumbled, "and you'll 
probably run right into Mr. Garvin, who's 
coming out to meet you." 

Mr. Guffey mustered up a dignified strut, 
though his knees were wobbling, and before he 
had proceeded very far a worried-looking man 
with a patch or two of grey in his black pom- 
padour, rounded a corner. 

GLAD to see you," he said, shaking hands. 
"I'm Joe Garvin, publicity department. 
We certainly appreciate this thing, Mr. Guffey. 
Come right along; Miss Delura's crazy to hear 
about this music angle." His eyes took in the 
ensemble, to which had been added a floppy 
Panama and a whippy Malacca cane. "I 
didn't e.xpect to see such a fashion plate. You'll 
be quite a surprise to Miss Delura, too." 

Rendered e.ightly dizzy by the cordial recep- 
tion, the pride of Gravity Falls merely waggled 
his head, and followed on through a maze of 
buildings and grass plots. Finally he became 
articulate. "I hope so," he burbled, repeating 
a criticism he had read in the newspapers, "be- 
cause it is necessary to intrigue her interest, to 
make her personality vibrate so that I can 
catch the proper mood to set to music. Moods 
'are fleeting things, you know." 



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Mr. Gan-in appeared not to be listening. 
"Of course," he remarked, "a man like you is 
accustomed to meeting actresses." He halted 
before a bungalow on wheels, and beckoned the 
other in. "Just let her rave, but you don't 
have to allow it to soak in," 

The cavalier started at this lack of poUte- 
ness, and was about to comment on it, when 
the publicity man yanked open a door, reveal- 
ing Dora Delura in person, draped inelegantly 
upon a couch, eating peppermints. Mr. Guffey 
began to tremble anew; there She was; honey- 
colored hair, greenish eyes and the mouth 
that made her resemble a lachrymose angel. 

"Dora," said Joe, "here is Mr. Gufiey." 

"Where?" queried the vision, looking 
directly at that gentleman. 

"In front of you, and all ready to discuss 
that song." 

Miss Delura looked her caller up and down 
in a knowing manner he had never seen in a 
picture. "Don't kid me," she tinkled, and 
rolled over on the couch. 

Joe's face darkened. "Dora!" he snapped, 
"believe it or not, this is Mr. Guffey. He is 
here to give you pubUcity; do you want it, or 
not?" 



formation. "All right, Stan it is. Now, you'll 
stay here and lunch with me, because I won't 
be called untU this afternoon. Then, if you 
want to, you can take me to chnner and the 
theater. Where are you staying?" 

When he told her, the green eyes flickered 
strangely. "Have you seen Norma and Janet 
and Corinne, and the rest of the beauties? " she 
asked, "They're always around there, and 
maybe you'll think they're prettier than poor 
Uttle me," 

"T WOULDN'T give ten cents for a basket- 

^ ful of them," said Stan loyally, "I don't 

want to look at anyone but you, Miss Delura," 

"You mean Dora," she laughed, "Vou 
know, Stan, I like you a lot already. Most 
men are so changeable about women. Cross 
your heart you wouldn't write a song about any 
other girl? Then I'm going to let you take me 
around a good deal these evenings." 

"I didn't know you went around," said Mr. 
Guffey. 

" What do you mean? " Miss Delura's voice 
grew raspy. 

"Aren't you the 'Nun of Hollywood, aloof 
and serene, like moonlight on the ocean' ? 



"That's right, too," admitted Dora, wrin- 

DORA rolled back again, all smiles, and held kling her forehead, "but only in a manner of 
out her hand. "You never can tell when speaking. 



they're joking around here, Mr. Guffey, but 
then, life is a joke, don't you think?" 

"At present," stated the mesmerised one, 
"it's a pleasure." 

"You flatterer," cooed Miss Delura, "but 
then, I suppose, a man like you practices on all 
the girls he meets. Still, you're here to talk 
about music." She looked earnestly at the box 
of peppermints. "Don't you adore Brahms? 
And Massenet? And Saint-Saens? " Mr. 
Guffey gaped. 

"How about the business end?" cut in Joe 
Garx'in. "Will you run her picture on the 
cover of the song? What radio stations wilt 
you tie up with? " 

"Well," began the counterfeit composer, 
sparring for another idea, "I — " 

"You can go," said Dora, over her shoulder. 
"We don't want to be bothered with details, do 
we, Mr. Guffey?" And, leaning back in her 
best Cleopatra attitude, she gave him the look 
that makes men miss trains. 

When Mr. Garvin had closed the door. Miss 
Delura laughed coquettishly and stared hard at 
the red and lemon tie. Then she laughed some 
more, and gradually it came to her listener that 
her voice was rather hoarse. 

"T'M sorry you have a cold," he ventured. 
-L Miss Delura looked thoughtful. After a 
moment she said, "Oh, yes, but it isn't a cold. 
I always adjust my voice to suit the character 
I'm playing, and I'll be using this one for some 
time. You see, I'm supposed to be a San 
Francisco girl, so naturally my voice is husky 
from the fog." She took his hand and pulled 
him down beside her on the couch. "And now, 
tell me all about your plans for putting me on 
every radio and phonograph in the country," 

Mr, Guffey stirred uneasily. He hadn't 
thought of his scheme on such a grand scale, 
but as his idol leaned closer, nothing seemed 
impossible. The subtle odor of heliotrope 
sifted up his generous nose, putting him in a 
state of optimistic recklessness, and for the 
next fifteen minutes he deUvered a meaningless 
flood of words, garnished with all the musical 
terms he knew. But not a whisper escaped 
him concerning Gravity Falls and the Bijou. 

"What I can't understand is why you 
picked me," she murmured, when he came up 
for air. 

"Because I'm crazy about you," said Mr. 
Guffey, now talking without effort, "and have 
been for years. You're the loveliest thing I've 
ever seen." 

Miss Delura negotiated a blush, then she 
looked at her knight so thriUingly that he shook 
like the tremo.lo stop on the organ, "I'll help 
you to capture the right melody," she assured 
him, "but we're being too formal. What's 
your first name?" Mr. Guffey gulped the in- 



speaking. I don't go out much, because I'm 
kind of reserved, that's all. And oh, Stan," she 
went on, "don't take offense, but red and 
yellow affect me strangely." 

"Yeah," inquired the solicitous Mr. Guffey, 
"what do they do to you?" 

"They make me want to scream, and checks 
are bad luck, too. It's my artistic sense, I 
guess, but I'm wild about navy blue. You 
know, soft and subdued, like my closeups." 

"Well," said the thwarted Beau Brummel, 
"just to show you how much I think of you, 
I'll ditch these clothes. It's funny, too, because 
when a .girl starts ribbing up a guy about his 
clothes, it usually gets him sore." 

The door was jerked open, and the irritable 
Mr. Garvin inserted his head, "Hey!" he 
shouted, "I'm sending in a sobbie from the 
Kalamazoo 'Ciazette,' Give her the I-hate-men 
stuff. Here," he continued, slipping a piece of 
paper in the back of a magazine, and handing 
to Dora without the faintest sign of reverence. 
"Play with that while you're talking." 

"Shoot her in," ordered Dora, "but I won't 
spare much of my time, because I'm too inter- 
ested in Stan, here. Stan, do you mind going 
out with Joe until this interview is ox'er? And 
listen, Joe, he's taking me to the Cocoanut 
Grove tonight, and tomorrow as well." Dora's 
huskiness had taken on a malicious tinge. 

Joe gave her a tired smile. "That's fine," he 

said. " Even in all that mob you'll certainly be 

noticeable." 

* * * 

FOR five days Mr. Stanley Guffey lived with 
all the nonchalance of the ivory pellet on a 
roulette wheel, and had about as much to say 
regarding what would happen ne.xt. The deter- 
mined Dora herded him around town to 
lunches, teas, the Ambassador, a world 
premiere at the Chinese Theater, moonlight 
rides to Palos Verdes, star gazing on the beach 
at Malibu, until he was punch drunk with 
enthusiasm. 

He had been made welcome at her home on 
a sandstone shelf in Beverly Hills, and had en- 
countered a lady known as Momma, who was 
fat, wheezy and owned a suspicious eye. He 
also made the acquaintance of sundry inspira- 
tional beverages smuggled in from Mexico, 
which had encouraged him to rhyme "flowers" 
with "hours" and "part" Nvith "heart." 
Juggling these with a few bars of Verdi, he 
managed to make a beginning for his serenade, 
and was relieved to find that Dora believed his 
music to be original. Then, Saturday mid- 
night, she gave him an infinitesimal kiss, and 
Mr. Guffey went home to the Ambassador with 
his ears laid back. 

On Sunday morning, he lay abed until noon, 
when, not receiving the customary telephone 
call, he fell into the error of millions of swains 
before him. "Dear little girl," he said to hi% 



Every advertisement in PHOTOPLAY MAGAZINE Is guaranteed. 



Photoplay Magazine — Advertising Section 



15 



mirror, "she's probably oversleeping. I'll 
breeze right out there and surprise her." But 
on his arrival the Filipino butler informed him 
that Dora was out, and made no attempt to 
in\ite Mr. Guffey in. However, the guileless 
Stan preferred the sunshiny lawn, and pro- 
ceeded to moon about, trying to think of a 
good tune to adapt. 

Suddenly the obese Momma bulged herself 
out of an upper window. "What do you 
want?" she called. 

"I'm just waiting for Dora." 

"Did she invite you today?" asked the fat 
lady, with emphasis on the pronouns. 

"Why, no," said the surprised Stan, "but 
she told me to come out any time. I'll just 
hang around for a while." 

EVERYBODY with a house says that," 
wheezed Momma, "but they don't expect 
people to believe it. You better go back to the 
hotel, M:r. Guffey. Dora is away." 

Even Napoleon crowded his luck once too 
often, and Mr. Guffey was standing beside the 
honeysuckle bush where Dora had let him hold 
her hand. "It's nice out here," he said, with 
the recklessness of ignorance. "I get sw^ell 
ideas out in the sun." Momma made a gur- 
gling noise, and slammed the window, so, to 
avoid irritating her, the little organist strolled 
down the gravel path to the back of the house. 
He poked an inquisitive head into the patio, 
and then remained stockstill, regarding the 
loosely dressed figure of Mr. Joe Garvin. 

"Howdy, Professor," greeted that gentle- 
man coolly. "How's the love song?" 

"Not bad," countered Stan feebly, dredging 
about for a solution of the publicity man's 
presence. "How's every little thing?" 

It appeared that every little thing was all 
present and correct. Joe talked easily on 
motion picture topics, and was going strong 
with his opinion of supervisors, when Mr. 
Guffey crashed bhndly in with the all-im- 
portant question; "Where's Dora?" 

"Oh, her," said Joe, arranging his dishabille. 
"Why, Cuthbert just got back from the East, 
and she's out with him." 

"Cuthbert," repeated the stricken swain. 
"What a hell of a name. Who's he?" 

Joe yawned, and blew a row of smoke rings. 
"A big hub and spoke man from Wheeling, 
whose dad left him a few million. Dora's going 
to marry him." 

Mr. Guffey took this verbal wallop right in 
the nose, and sat down suddenly, quite certain 
that his legs had turned to rubber. "Marry 
him!" he gasped. "When?" 

MR. GARVIN smiled grimly. "As soon," he 
said, flicking a match alight with his 
thumbnail, "as she can divorce me. She's grab- 
bing him for insurance against the time when 
she's through," Joe went on, "and it's a wise 
move, at that. He can have her. When I mar- 
ried her, Mr. Guffey, she was pearl diving in a 
Memphis restaurant, and it wasn't so long ago, 
either. W'e came to Hollywood, she clicked, 
and now I get the runaround like the rest of the 
Good Samaritans." 

The pride of Gravity Falls moaned. "And 
all the stories said she was so different." 

"That was just my method of giving her 
publicity. No matter what the writers really 
thought, they'd spUl the same old bunk. Lots 
of stars have personality, but Dora is a bit 
heavy in the conk, so we cover that up by 
making her mysterious. She don't know any- 
thing. Did she talk to you about Brahms, and 
all the rest? Well, I wrote their names in the 
hd of that candy box, and put her wise. And 
the only reason she's been sticking so close to 
you is to prevent some other dame making a 
play for the song idea. I never could figure out 
why you chose her, Mr. Guffey. Don't gape 
at me like that." 

"I was crazy about your wife," mumbled 
Stan, "and there's something you ought to 
know. I kissed her." 

"Y'ou'll get over it." 

"I thought she was reserved, and all that." 

"Sure," said Joe, "reserved for Cuthbert. 




US 



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Listen, maybe you better go now," he sug- 
gested, patting the other on the shoulder. 
" Remember her as she is on the screen, but I 
guess you'll have a tough time composing 
now." 

A ^R. GUFFEY was trying to assemble a few 
•'■''■'■words, when there were raucous shrieks 
from the house, and footsteps came running 
across the floors Jlr. Guffey had trodden in 
rose-colored bliss. The next moment out 
catapulted Dora and a stupid-looking youth 
with an infantile pink face. 

"So there you are," she squawked, and Stan 
realized that she had been using her natural 
voice all the time. "You impostor! You no- 
good— " 

"I'll handle this," said Cuthbert, endeavor- 
ing to appear heroic. "Now, then, what do 
you mean by passing yourself off as Professor 
Stanton Guffey, of Chicago?" 

"Pass off, hell," snorted the maligned 
musician. "Stanley Guffey is my name, not 
Stanton." Mr. Garvin suddenly tensed. 

"I suppose you never heard of Stanton 
Guffey," sneered Cuthbert. 

"He's a stranger to me," said the truthful 
Stan. 

"I think you're a liar," pursued Cuthbert, 
"but anyway. Professor Stanton Guffey, of 
Chicago, is a very famous musician and a 
friend of my family. When Dora told me he 
was out here, and then described you, I knew 
something was wrong. 

".All musicians are funny-looking birds, of 
course, but — " 

"That's just it!" yelled Dora. "I thought 
he was a new comedian, all made up like a 
minstrel, but Joe gave me the tip to be nice to 
him. How was I to know? I don't pal around 
with a flock of professors, glory be to Will 
Hays. Oh, you dumb cluck," she howled at the 
shrinking suitor, "I could strangle you!" 

"Fold up," said Joe. "Listen, Guffey, how 
did you come to send that telegram? It got us 
all excited, having such a famous signature, 
and we didn't notice the Uttle difference in the 
names." 

"I just wanted to sound important," ad- 
mitted Stan. "Honest, I never heard of this 
other Guffey." 

Cuthbert let out a nasty chortle. "You 
must be well up in the music world. What do 
you do — dust off pianos?" 

Mt. Guffey, miserable as he was, froze with 
dignity. "Listen, you," he snarled, "a crack 
like that gets us artists sore. There's other 
places besides Chicago, and I'm here to tell you 
that I'm the best Uttle organist in Gravity 
Falls, Wisconsin." 

"Gravity Falls," cackled Miss Delura. 
"What's that — a slogan?" 

"It's a town," he informed her, "that has 
better looking dames than a Memphis dish- 
washer." 

Strangely enough, he was thinking of the 
way Viola's hair framed her face and how her 
black eyes could flash. 

Dora reddened beneath her enamel and kept 
staring fixedly at the deserter from her public. 
"Grab him!" she screeched, "I'm going to get 
publicity out of this, one way or another. 
Grab him, I tell you!" 

"Grab him yourself," said Joe, walking 
away. "He's given me the only^laugh I've had 
this year." 

"Kyf R. GUFFEY retained only cloudy mem- 
■'■•■'■ories of the events leading up to the 
tragedy. He recalled vaguely that the chauf- 
feur, aided by the pulpy Cuthbert, sat upon 
him while the stentorian Momma phoned for 
a policeman. And after the bluecoats came 
reporters and camera men, subsequent to which 
he lost interest in the case, as becomes a 
gentleman who has been struck x^ith a blunt 
instrument. 

After a night in the seldom used Beverly 
Hills jail, a warden presented him with a cup of 
villainous coffee and a morning paper. The 
thick headline leaped at him accusingly, and 
with his good eye he read; 

BreiT advertisement In PHOTOPL.\T MAGAZINE Is gnarantCMl. 



DORA DELURA S.WED FROM ATTACK 
BY MORON 
Crazed by love, musician 
pursues fragile beauty to 
Beverly Hills boudoir 
Below ran six or eight poses of the fragile 
beauty and one of the fiend, which turned out 
to be a playful term for Mr. Guffey. Looking 
things over, he decided that the only break he 
had received was that someone had booked him 
under a fictitious name. Then, suddenly home- 
sick for the friendly audiences of the Bijou, he 
lowered his head into shaking hands. The next 
moment he sprang to his feet. 

"TTIE charge is withdrawn," came Joe's 

■*- voice. "Open up, sergeant, and I'll tow 
him to safety." And when the grateful Stan 
tottered outside Mr. Garvin braced him against 
a telephone pole, and flagged a taxi. "Listen, 
kid," he told him, "I'm a small towner, too, 
like the rest of the Hollywood push. You 
better go back if you know what's good ior 
you." 

The possessor of a broken heart drooped un- 
happily. "I will," he promised, "but first, 
where is a good place to get stewed? " 

Mr. Gar\'in gazed at him with complete 
understanding. "I know how it is," he said, 
depositing his burden in the corner of a cruising 
taxi. "Tia Juana, kid, if you've got the price." 

So Mr. Guffey stumbled over to Mexico with 
numerous bruises and forty-two hundred 
dollars in cash, and after weaving around for 
several hours discovered that he was at the 
race track. An owlish inspection of the pro- 
gramme showed him that there was a horse 
called Love's Labor Lost in the next race, and, 
having reached the weeping stage of the cele- 
bration, the name made him worse than ever. 
Carefully undressing himself to the extent 
necessary before he could disinter the four 
thousand dollars next to his shirt, he trotted 
up to the fifty dollar window, and bawled for 
eighty tickets on the horse of his choice. 

"What's the matter, son? " asked the mutuel 
man. "Too much moosemilk?" 

"So fair, and yet so false," sobbed the dis- 
carded lover, reeling off a subtitle. "Now to 
toss the dice with fate," and with a gesture that 
would have made Sydney Carton jealous, he 
handed over his sheaf of bills. 

A BOUT a week later a furtive young gentle- 
-'*-man crept into Gravity Falls, entertaining 
timid thoughts about the prodigal son, the 
golden-hearted home town girl, warm arms 
around his neck and all the rest of it. Habit 
dre\v him toward the Bijou, but as he neared 
it, the amorous haze melted like an indestruc- 
tible pearl when exposed to heat. There was 
\'iola getting ready to leave, arm in arm with a 
glossy little shrimp who peddled silk stockings. 
ISIr. Guffey reflected for an instant on the 
perfidy of women, then, entertaining no 
notions of false chivalry, he clouted the escort 
in the jaw, and chased Viola all the way home. 
Unable to catch her, he also had to endure 
being jeered at by the )'oung lady from the 
protection of her front door. 

Once more he retraced his steps, and re- 
sumed the old custom of mumbling to himself. 
"I'll lead her a dusty road tomorrow," he 
promised, "because I'll buy in on my share of 
the Bijou from old Watts. He wants to sell, 
sure enough. Love's Labor Lost — I'll say so. 
That plug came in at ten to one, but why 
should I cheer? The best I got was six to one, 
on account of that bum on the mutuels slipping 
me place tickets. Twenty-four grand instead 
of forty, and all because I was slightly boiled. 
Some fellows just never have the luck." 

An hour before the matinee he paced 
smartly into the First National Bank, hstened 
to the lawyers and their whereases, and 
emerged part owner of Gravity Falls' only 
cathedral. He was wearing his minstrel 
ensemble, and the glint of battle was in his eyes 
as he marched up to the box office. 

"You're fired!" he snapped at Viola. 
"Breeze on out to your silk stocking sheik." 

The girl paled. "Why, Stan," she said 



''he's nothing to me." Then her blue k eyes 
smoked dangerously. " But who do you think 
you're talking to? Go on back and massage 
those keys, and dream of your dizzy Dora." 

"ilr. Guffey to you," advised that genius, 
pounding on the glass, "and one-third owner 
here. I been to Hollywood, and I got ne"' 
ideas. Outside, before I run you out." 

\'iola stared at him. and her lips began to 
tremble. Xice, curvy lips, Mr. GulTey couldn't 
help thinking, and not all stiff with paint like 
certain others. Nevertheless, he walked in- 
side the booth to show that he was in earnest. 

GET your coat," he said. "Xo woman is 
going to make a monkey out of me," and 
he tried not to notice the perfume in her hair, 
which wasn't heliotrope, and the suedelike 
softness of her throat. A httle hand crumpled 
his lapel, and Mr. Guffey began to have doubts 
as to the wisdom of coming into the bo.x office. 

"Stan, dear, you couldn't; you wouldn't," 
she crooned. 

"Wouldn't I?" he demanded, but it didn't 
sound as harsh as he expected. .\ motnent 
later they were interrupted by an inquisitive 
person who wanted to buy a ticket. 

The erstwhile hound of Hollywood entered 
the theater, and strolled absently to his place 
in the wings. "Well, anyhow," he muttered, 
"in the end, she quit. She's going to walk 
right out, and over to the new job, which is 
running that bungalow I'm buying for my wife. 
But how it all happened is a mystery to me; it's 
just one of those things that crop up when you 
pay more attention to the dames than to a five- 
keyboard console. 

"No domination. No master-of-my-fate 
stuff. It's enough to get a guy sore, but the 
funny thing is," said Mr. Guffey, as he stepped 
into the circle of orange light and bowed hap- 
pily, "that I'm not." 



Photoplay Magazine — Advertising Section 

MOTHER 
DONT BE QUAINT 



1 1 




Newark, N. J. 

Perhaps I should have written this 
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But at that time, I did not have a 
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Photoplay Magazine — Advertising Section 




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Brief Reviews of Current Pictures 



[ CONTINUED FROM PAGE 14 1 



HEARTS OF MEN— Anchor.— And producers 
ain't got no heart. (Ocl.) 

HEART TO HEART— First National.— Agreeable 
and original comedy of small town life. You'll like it. 
{September.) 

HEART TROUBLE— First National.— Harry 
Langdon writes his own finish in pictures. (Sepl.) 



-Carnival life film that has 



HEY, RUBE— FBC- 

thereal stuff. {Dec.) 

HIS LAST HAUL— FBO.-Just a tear jerker. 
(Dec.) 

HIS PRIVATE LIFE— Paramount.— One of 
those French farces that Is full of doors and bores. 
However, it has Adolphe Menjou. {Dec.) 

HIS RISE TO FAME— Excellent.— Prize ring 
stuff with night club trimmings. {September.) 

HOLLYWOOD BOUJMD — Warners. — Talkie 
farce that sounds as though it had been written by 
someone who never had been nearer Holly\vood than 
Parsons, Kans. {November.) 

HOMESICK— Fox.— Sammy Cohen as a New 
York tourist in California. Fairly funny. {Dec.) 

*HOME TOWNERS, THE— Warners.— Smooth- 
est talkie so far. Good lines, by George M. Cohan, 
and a fine performance by Doris Kenyon. {Dec.) 

HOT NEWS— Paramount.— Bebe Daniels hunts 
for thrills in the news reel game. And finds 'em. 
{September.) 

HOUND OF SILVER CREEK, THE— Universal. 
— Dynamite, the new dog star, blasts an inferior 
story to success. {August.) 

I FORBID — Fan-Maid Pictures. — An over-ripe 
Kosher film of breaking hearts. {November.) 

INSPIRATION— Excellent.— Too little of the 
title r61e. {Dec.) 

♦INTERFERENCE — Paramount.— Drama and 
suspense in a Grade A murder story. Well acted 
and well spoken — yes, it's a talkie. {Dec.) 

INTO NO MAN'S LAND— Excellent.— An un- 
usually dull war picture. {Dec.) 

JUST MARRIED — Paramount. — Honeymoon 
farce on a transatlantic liner. Lots of laughs. 
{September.) 

KID'S CLEVER, THE— Universal.- But the film 
isn't. {November.) 

KING COWBOY— FBO.— Please, Mr. Mix, don't 
do anything like this againl (Jan.) 



KING OF THE RODEO— Univcrsal.—Hoot Gib- 
son's best contribution to Art in a long time. {Jan.) 

*KIT CARSON— Paramount.— Fred Thomson in 
an above par western. {Ocl.) 

LADIES OF THE MOB — Paramount. — Clara 
Bow becomes a gunman's "moll" and handles a 
dramatic story skillfully. {September.) 

LADIES OF THE NIGHT CLUB— Tiffany- 
Stalil. — A clown and a millionaire are rivals for the 
affections of a cabaret girl. Synthetic heart interest. 
{August.) 

LEGEND OF GOSTA BERLING, THE— 

Swedish Biograph. — European film with Greta 
Garbo. proving that Hollywood changed an ugly 
duckling into a swan. (Jan.) 

LIGHTNING SPEED— FBO.— Adventures of a 
newspaper reporter — as the movies see 'em. (Nov.) 

LIGHTS OF NEW YORK — Warner-Vi tap hone. 
— First all-talkie feature and, naturallv. pretty crude. 
Squawking night clubs and audible murders. 
(September.) 

*LILAC TIME— First National.— Thrilling and 
romantic war drama with enough sentiment to lift 
it above the run of war plays. {August.) 

LINGERIE— Tiff a ny-Stahl.— Alice White and 
Malcolm McGregor in a war romance that vou'U 
like. (Oct.) 

LION AND THE MOUSE— Warner- Vitaphone.— 
Partly dialogue with some effective performances. 
But the story belongs to a past decade. (September.) 

LITTLE WILDCAT, THE— Warners —Nothing 
to shoot up the'blood pressure. (November.) 

LITTLE WILD GIRL, THE— Hercules —Lil a 
Lee gets mixed up in a lot of old-fashioned hokum. 
{September.) 

LITTLE YELLOW HOUSE, THE— FBO— An 
awful fuss about nothing at all. (August.) 

LOST IN THE ARCTIC— Fox —Interesting and 
worthwhile story of Arctic Exploration. (Oct.) 

LOVE OVER NIGHT— Pathe.— Mystery stuff 
eased over with some good comedy. (September.) 

MADELON— Universal. — A talkie — so bad that 
it should be a museum piece. (November.) 

MAGNIFICENT FLIRT, THE— Paramount.— 
Mother and daughter in a mix-up of romances. 
Suave direction and the fascinating work of Florence 
Vidor put this picture across. (August.) 





m. 




"i."'':; y ^'^ 


|V^^9^r^^'^ . 


T^ ■'%■.. 




'^^^'^ mi 

m 


1 



Director Richard Wallace is in a terrible jam. When the talkies 
came he threw away his megaphone and now his technicians are 
all locked up in a glass show case and can't hear a word he's saying. 
This is the filming of a scene for "The Shopworn Angel," new 
Paramount talking picture, and the leggy young lady getting a good 
horse laugh on poor Richard is Nancy Carroll, the leading woman 



Every advertisement In PHOTOPLAY MAGAZINE 1b EUaranteed. 



Photoplay Magazine — Advertising Section 



119 



MAKING THE GRADE— Fox.— An excellent 
movietone, based on a George Ade story. (Dec.) 

MAKING THE VARSITY— Excellent.— Any way, 
it took ingenuity to turn a football game into a ser- 
mon. (Jon.) 

MAN FROM HEADQUARTERS. THE— Rayart. 

— Tlirilling and enthralling Secret Service yarn. 
Above average. (St-ple/nher.) 

♦MANHATTAN COCKTAIL — Paramount.— A 
story of life in New York's theatrical circles — told 
with a kick. (Dec.) 

MAN IN HOBBLES, THE— Tiffany-Stahl.— 
What "in-laws" can do to an ambitious artist. Good 
comedy. ( Dec.) 

MAN OF PEACE, A — Warners. — The Vitaphone 
picks up the Ozark drawl. Too bad that Hobart 
Bosworth's first talkie had to be something like this. 
Wan.) 

MARCHING ON— Fox.— Chic Sale in a char- 
acter study of a Civil War veteran. Tears and 
laughter. It's a Movietone. (Dec.) 

MARKED MONEV—Pathe.— Pleasant comedy 
with human interest. {Dec.) 

MASKED ANGEL, A— Chadwick.— Just dumb. 
iOcl.) 

MASKS OF THE DEVIL— Metrn-Goldwyn- 
Mayer. — John Gilbert is great in a weird and sinister 
story. (Dec.) 

*MATING CALL, THE— Paramount-Caddc— 
Thomas Meighan, Evelyn Brent and Renee Adoree 
in an unusual story of strong dramatic appeal. iOcl.) 

*ME, GANGSTER— Fox. — Sentimental, melo- 
dramatic and yet completely absorbing. Introducing 
an unusual newcomer, one Don Terry, whose perform- 
ance is worth seeing. {November.) 

MIDNIGHT LIFE— Gotham.— Night club stuff 
and a bit bloodthirsty. (Orf.) 

MIDNIGHT TAXI, THE— Warners.— Bootlegger 
and hijackers run riot. {August.) 

MODERN MOTHERS— Columbia.— Show folks 

vs. Babbitts. {Oct.) 

MORGAN'S LAST RAID — Metro-Goldwyn- 
Mayer. — An old-time melodrama made passable by 
modern embellishments. {November.) 

*MOTHERKNOWSBEST— Fox.— Edna Ferber's 

story of a stage motlier whose dominating, relentless 
ambition for her daughter sends the girl to fame. .A 
remarkable performance by Madge Bellamy and 
great acting by Louise Dresser and Barry Norton. 
{November.) 

MUST WE MARRY?— Trinity.— Must we make 
pictures like this? {Dec.) 

MYSTERIOUS LADY, THE — Metro-Goldwjn- 
Mayer. — Greta Garbo as a spy in a war romance. 
And. oh what fun for the ofBcersl {September.) 

NAME THE WOMAN— Columbia.— And also 
name the plot. {Oct.) 

NAPOLEON'S BARBER — Fox Movietone. — 
Historical drama with chin chatter. Cheer up, there's 
only two reels of it. {Jan.) 

NAUGHTY BABY— First National.— Bad Alice 
Whitel Naughty Jack Mulhall! Mean producers' 
Why make us suffer through a stupid evening? {Jan.) 

NED McCOBB'S DAUGHTER— Pathe.— Plenty 

of action plus sound drama plus fine acting. {Dec.) 

NIGHT BIRD, THE — Universal. — Reginald 
Denny goes back to the prize-ring, where he is at his 
best. {November.) 

♦NIGHT WATCH, THE— First National.— War 
story with navy background and some good drama. 
.AKif BillieDove. {Oct.) 

*NOAH'S ARK— Warners.— Big cast, big theme, 
big flood. Your money's worth. {Oct.) 

NONE BUT THE BRAVE— Fox.— Once more the 
college hero makes good. {Oct.) 

NO OTHER WOMAN— Fox.— One of Dolores 
Del rUo's early movie mistakes, dug up for no good 
reason. {September.) ■ 

OBEY YOUR HUSBAND— Anchor.— Horrible 
moral lesson for naughty wives. {September.) 

OH KAY! — First National. — Colleen Moore in 
some agreeable nonsense. {Oct.) 

OLD CODE, THE — Anchor. — Heaven help the 
Indian on a night like this I {Oct.) 

*ON TRIAL — Warners. — Vitaphone version of a 
drama that will hold you spell-bound. Also the return 
of Pauline Frederick as a talkie star. Recommended. 
{Jan.) 

OPENING NIGHT, THE — Columbia. — One 

moment of cowardice wrecks the life of an otherwise 
fine man. .^ drama worth seeing. {.August.) 

ORPHANS OF THE SAGE— FBO.— Boss pitch- 
er. {Oa.) 

*OUR DANCING DAUGHTERS — Metro- 
Goldwyn-Mayer. — Lively and very modern romance 
in the younger set, staged in a luxurious background 
and ornamented by Joan Crawford, Anita Pace and 
Dorothy Sebastian. John Mack Brown and Nils 
Astheralso helpalot. {August.) 



CHAPPED HANDS 

are Social Outcasts 



■ 1 




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*OUTCAST— First National. — Corinne Griffith 
is excellent in a daring, well directed and interesting 
drama. Send the children to a Western. (Jav.) 



. — Dick 
Buster 



OUT OF THE RUINS— First National. 
Barthelmess in a pretty uniform and a 
Keaton expression. (Oct.) 

OUT WITH THE TIDE— Fearless.— Great hand- 
fuls of melodrama. (.November.) 

PAINTED POST — Fox. — Tom Mix's swan song 
for Fox. (September.) 

PHANTOM CITY, THE— First National.— Fun 
and mystery in a deserted mining town, with Ken 
Maynard as the spook chaser. (August.) 

PHANTOM PINTO, THE— Ben Wilson